Music 
Lib. 

i.T 

B98 
1905 


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^REDERie  F'^'O  BUtLARb 


Digitized  by  the  Internet  Archive 

in  2007  with  funding  from 

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BURROWES'  PIANO  PRIMER 


CONTAINING  THE 

RUDIMENTS  OF  MUSIC  ADAPTED  FOR  EITHER 

PRIVATE   TUITION   OR   TEACHING  IN 

CLASSES,  TOGETHER  WITH  A 

GUIDE  TO  PRACTICE 


REVISED  AND  CORRECTED  EDITION,    WITH  IMPORTANT 
ADDITIONS  AND  A  PRONOUNCING  DICTIONARY 


BY 

FEEDERIC  FIELD  BULLARD 


BOSTON 
OLIVER   DITSON   COMPANY 

KEW  TOBK  CHICAGO 

C.  H.  DITSON  &  CO,  LYON  &  HEALY 


Copyright,  MCMV,  by  Oliveb  Ditson  Company 


Library 

Mr. 

/for 

PREFACE  TO  THE  NEWLY   REVISED  EDITION 


The  conciseness  and  clarity  of  Burrowes'  "  Primer  "  (it  is,  rather, 
a  Catechism),  together  with  its  convenient  size  and  low  price,  have 
given  it  a  large  sphere  of  usefulness.  Approximately  a  million  copies 
have  been  sold,  and  the  little  book  is  in  the  most  active  use. 

The  present  edition  is  based  on  the  many  previous  editions ;  but 
while  there  are  many  changes,  corrections,  and  additions  in  this  new 
edition,  the  editor  has  been  careful  to  preserve  the  original  text  and 
contents  as  far  as  possible.  It  is  still  Burrowes^  Primer ;  it  is  still  a 
Piano  Primer. 

The  principal  changes  are  as  follows : 

All  mistakes  and  faulty  terminology  have  been  corrected. 

All  old-fashioned  terms  have  been  replaced  by  modern  ones,  the  old 
ones  being  mentioned  as  such. 

A  few  useless  or  antiquated  ideas  have  been  eliminated. 

From  the  Appendix  several  exercises  have  been  transferred  to 
earlier  pages:  the  word  section  has  been  substituted  for  exercise.; 
the  major  and  minor  scales  and  arpeggios  have  been  made  complete, 
and  modern  fingering  has  been  substituted  for  the  "  American " 
system. 

The  pronunciation  of  each  foreign  word  is  given  in  the  text  as  it 
occurs,  and  a  Pronouncing  Dictionary  of  Musical  Terms  has  been 
added.     And  the  word  pianoforte  has  been  shortened  to  piano. 

There  was  temptation  to  add  more,  both  of  things  technical  and  of 
things  harmonic,  but  this  would  have  taken  the  book  out  of  the  field 
which  is  so  peculiarly  its  own.  We  present  herewith  a  modern  and 
thoroughly  revised  Burrowes'  Piano  Primer. 

Frederic  Field  Bullard. 

Boston,  February,  1904. 


iii 


AUTHOR'S   PREFACE. 


The  rapid  sale  of  this  little  work,  and  the  flattering  approbation 
which  has  been  bestowed  upon  it  by  many  of  the  most  eminent  pro- 
fessors, have  given  great  satisfaction  to  the  author.  In  presenting 
another  edition  to  the  musical  world,  he  begs  to  repeat  that  it  is  not 
intended  to  interfere  with  the  mode  of  instruction  which  any  teacher 
has  already  adopted,  but  is  to  be  used  either  in  private  tuition  or 
teaching  in  classes,  in  addition  to  the  regular  lessons  already  in  use. 

The  author  thinks  it  necessary  to  repeat  that  he  does  not  offer  this 
book  as  containing  anything  new;  yet  he  hopes  it  will  be  found  useful 
in  explaining  the  rudiments,  and  thereby  enabling  the  teacher  to  devote 
more  time  to  other  important  branches  of  music. 

The  following  remarks,  although  certainly  superfluous  to  instruc- 
tors in  general,  he  hopes  will  not  be  thought  intrusive. 

The  principle  object  of  every  teacher  should  be  to  make  his  pupils 
thoroughly  comprehend  one  question  before  they  proceed  to  another ; 
for  this  purpose  each  one  should  be  provided  with  a  music  slate  or 
blank  music  paper  upon  which,  after  explanation,  the  teacher  should 
write  an  exercise  drawn  from  the  questions  or  the  Appendix,  leaving 
the  blanks  to  be  filled  up  by  the  pupils. 

Every  exercise  should  be  repeated,  and  the  form  of  it  varied,  until 
it  can  be  done  without  a  mistake,  and  vmtil  the  pupil  is  able  to  give 
an  example  upon  the  instrument,  or  answer  any  question,  whether 
proposed  in  the  regular  order  or  otherwise.  This  will  be  attended 
with  a  little  trouble  to  the  instructor  in  the  first  instance  only,  as  the 
author  recommends  that  the  learners  of  the  second  chapter  should 
be  teachers  of  \h.e  first;  and  this  should  be  done  at  a  distant  part  of 
the  room  in  which  the  instructor  is  giving  his  lessons  at  the  piano, 
that  he  may,  by  way  of  keeping  up  the  attention  of  the  scholars, 
occasionally  inspect  their  examples ;  and  it  is  recommended  that  an 
examination  of  the  whole  school  or  class  should  take  place  at  stated 
periods. 

It  may  perhaps  be  necessary  to  say  a  few  words  in  favor  of 
teaching  in  classes.  The  author  has  practised  it  for  some  years,  when- 
ever an  opportunity  has  oifered,  and  he  is  of  opinion,  that,  so  far  as 
relates  to  the  rudiments  of  music  and  of  thorough  bass  (of  which 
this  book  does  not  treat),  it   is    highly   advantageous,  not   only  on 


vi  PREFACE. 

account  of  the  emulation  which  it  excites  in  the  scholars,  but  also 
on  account  of  the  time  which  it  saves.  Much  more  than  mere  accu- 
racy, however,  is  necessary  in  playing  the  piano.  The  author,  there- 
fore, is  strongly  of  the  opinion  that  only  one  should  be  taught  to 
play  at  a  time ,  for,  independently  of  reading  the  notes,  striking  the 
proper  keys  with  the  proper  fingers,  etc.,  etc.,  the  greatest  attention  is 
requisite,  both  on  the  part  of  master  and  scholar,  to  the  position  of 
the  hand  and  manner  of  playing.'*''  The  author,  however,  by  no 
means  wishes  it  to  be  understood  that  he  is  averse  to  the  pupils  play- 
ing occasionally  together  what  they  have  first  learned  separately ;  on 
the  contrary,  he  thinks  it  highly  desirable,  particularly  where  they 
have  contracted  any  embarrassment  or  hesitation  in  their  manner. 
In  this  case,  he  has  found  great  advantage  in  making  one  scholar  play 
the  upper  part  and  another  the  lower,  or  in  making  the  second  scholar 
play  an  octave  above  the  upper  part,  or  below  the  bass,  while  the  other 
is  playing  the  lesson  with  both  hands,  or,  what  is  still  a  more  common 
practice,  by  adding  an  accompaniment  himself  on  the  same  or  another 
piano. 

To  those  who  may  not  have  already  taught  their  pupils  in  classes, 
the  author  ventures  to  suggest  the  following  outline  of  a  plan  for 
forming 

CLASSES    FOR    MUSIC    IN"    SCHOOLS. 

The  school  is  to  be  divided  into  classes  by  the  master :  one  whole 
class  to  attend  at  a  time,  with  one  pupil  from  the  class  next  above  as 
teacher. 

Each  pupil  to  be  teacher  in  turn. 

The  pupils  not  to  be  admitted  into  an  upper  class  until  they  have 
passed  regularly  through,  and  can  give  all  the  requisite  examples  in 
the  lower  classes. 

Pupils  of  talent  to  be  removed  to  the  upper  classes  as  soon  as  the 
master  finds  them  qualified,  without  waiting  for  those  who  are  less 
rapid  in  their  improvement. 

The  exercises  of  each  class  to  be  appointed  by  the  master.  They 
may  be  selected  either  from  the  Primer,  or  by  making  the  pupils  explain 
to  tlie  teacher  tlie  lesson  about  to  be  played ;  both  the  time  marked, 
and  manner  of  counting  it  throughout,  pointing  out  those  notes  from 

*  To  those  who  are  unacquainted  with  the  piano,  a  few  words  in  explanation  of  what  is 
meant  by  "  nianiier  of  playing  "'  may  be  necessary.  In  the  first  place,  one  key  must  be  held 
down  until  the  next  is  struck,  and  no  longer;  a  deviation  from  this  rule  will  either  produce  a 
want  of  clearness  or  want  of  connection  of  every  passage  that  is  played.  After  the  habit  of 
doing  tills  properly  has  been  acquired,  the  exceptions  must  be  attended  to,  such  as  the  raising 
of  the  fingers  from  all  the  notes  that  are  to  be  repeated,  and  from  those  which  have  particular 
marks  set  over  them,  as  well  as  at  the  rests.  More,  it  is  conceived,  need  not  be  said,  to  con- 
vince any  one  of  the  impossibility  of  giving  proper  keyboard  instruction  to  a  number  of 
scholars  at  one  time. 


PREFACE.  vu 

which  the  fingers  are  to  be  raised,  those  notes  which  are  to  be  held 
down,  the  reasons  for  the  fingering,  etc,  etc. 

The  classes  to  be  held  only  during  the  time  the  master  is  giving  his 
lessons  at  the  piano. 

The  younger  pupils  to  be  attended  at  their  daily  practice  by  one  of 
the  older  ones,  who  is  to  be  appointed  by  the  master. 

After  being  made  thoroughly  acquainted  with  the  contents  of  this 
book,  the  pupils  may  proceed  to  the  study  of  harmony,  and  the  prac- 
tice of  playing  from  figured  basses. 

J.    F.   BUBBOWES. 


CONTENTS. 

Pagb 

PREFACE  TO  NEWLY  REVISED  EDITION iii 

AUTHOR'S  PREFACE v 

DIAGRAM  OF  PIANO  KEYBOARD x 

CHAPTER       I.     The  Keyboard,  Staff,  Letters,  Clefs,  etc 1 

II.     Notes,  Rests,  Dots,  etc 6 

III,  Time  and  Rhythm,  Triplets,  etc 7 

IV.  Position  of  the  Hand,  Manner  of  Playing,  etc.     .  10 
V.     Black  Keys,  Sharps,  Flats,  the  Signature,  etc.     .  12 

VI.    The  Double  Bar,  Repeat,  Da  Capo,  Dal  SEoy^o,  etc.  15 
VII.     Ornamental  or  Grace  Notes,  and  Common  Marks 

OF  Expression 19 

VIII,     Intervals,  How  Written  and  Named 25 

IX.     The  Keys  and  Their  Signatures 29 

X.    The  Scales   (Major  and   Minor)   and  the  T^jtra- 

chords 32 

XI.    Various  Characters  Used  in  Music 37 

XII.  Terms  in  Use  to  Specify  the  Degree  of  Rapidity 
OF  Movement  and  the  General  Style  of  Per- 
formance    41 


APPENDIX. 


SECTION  A.     A  Table  of  Simple  Turns 45 

"  B.     A  Table  of  Relative  Major  and  Minor  Keys     ,    ,  46 

"  C.     A  Table  of  Diatonic  Semitones 47 

"  D.     A   Table    of   Major    and    Minor   Thirds,    Perfect 

Fifths  and  Leading  Tones 48 

"  E.     The  Order  of  the  Keys 49 

"  F.     The  Harmonic  Minor  Scales 50 

"  G.     The   M.vjor   and   Minor   Scales.     (The   Chromatic 

Scale.)    .    / 52 

"  H.     Broken  Chords  (Arpeggios) 60 

"  I.     Burrowes'  Guide  to  Practice 65 

"  J.     The  Principal  Chords 73 

"  K,     Additional  Abbreviations  of  Notation 76 

"  L,     Abbreviations  op  Musical  Terms 77 

"  M,    Musical  Forms  and  Movements 78 

PRONOUNCING  DICTIONARY  OF  MUSICAL  TERMS 81 

ix 


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BUEEOWES'  PIANO   PEIMEE. 

CHAPTER   I. 

THE    KEY-BOARD,    STAFF,    LETTERS,    CLEFS,    ETC. 

1.  WhM  are  the  keys  of  the  piano,  and  how  are  they  named  f 

They  are  the  white  and  black  levers  upon  which  the  fingers  strike 
in  playing.  They  are  named  from  the  first  seven  letters  of  the  alphabet, 
the  eighth,  or  octave,  commencing  the  series  anew,  —  Thus,  A,  B,  C, 
D,  E,  E,  G,  a,  b,  c,  d,  e,  f,  g,  and  so  on. 

2.  How  are  the  letters  applied  in  naming  the  keys  f 

a.  Observing  that  there  are  two  rows  of  keys;  those  in  the  lower 
row  are  white  and  long,  presenting  an  uninterrupted  plan,  while  the 
black  keys  are  shorter  and  arranged  by  twos  and  threes  alternately. 
Every  white  key  which  lies  between  two  black  keys,  is  named  D,  the 
next  white  key  to  the  right  is  E,  and  the  next  beyond  E  is  F,  there 
being  no  black  key  between  E  and  F. 

The  pupil  should  now  point  out  all  the  D's,  E's,  and  F's  throughout  the  entire  keyboard. 

h.  Next  to  the  right  of  F  is  the  key  named  G ;  adjoining  G  on 
the  right  is  A ;  then  follows  B,  and  then  C,  there  being  no  black  key 
between  B  and  C.  It  is  also  well  to  notice  that  between  the  groups 
of  three  black  keys  lie,  on  the  left  G,  and  on  the  right  A. 

The  pupil  should  now  perfectly  learn  the  names  of  all  the  white  keys  in  every  octave —  the 
names  of  the  black  keys  will  appear  in  Chapter  V. 

.  3.     What  is  a  staff? 

A  staff  consists  of  five  lines  with  the  four  intermediate  spaces, 
also  the  space  above  and  the  space  below,  upon  which  notes  are  placed 
and  named  regularly,  each  line  and  space  constituting  a  degree  of  the 
staff.     The  plural  of  staff  is  staves. 

Space  above. 
5th  Line 


lit.  To  ~  4th  Space. 

l^   i^'"®-  ~~~ 2(1    Space. 

2d   Line. — i.^.  oi,,p- 

l8t  Line. *"  t>pace. 

Space  below. 

(1) 


2  BURROWES'   PIANO  PRIMER. 

4.    Supposing  a  note  placed  upon  the  first  line  is  called  E,  what  will  be  the  name 
of  a  note  on  the  first  space,  and  so  on? 

If  the  first  line  is  E,  the  first  space  will  be  F,  the  second  line  G, 
the  second  space  A,  and  so  on,  as  follows  : 


5.    Supposing  a  note  placed  upon  the  first  line  is  called  G,  what  will  be  the  name 
of  a  note  on  the  first  space  and  so  on  f 

If  the  first  line  is  G,  the  first  space  will  be  A,  the  second  line 
B,  the  second  space  C,  and  so  on,  as  follows : 


6.  How  do  we  ascertain  which  letter-name  should  be  given  to  a  note  on  any 
degree  of  the  staff? 

By  a  clef   (or  key  to  the  letters)  placed  at  the  beginning  of  the 
staff. 

7.  What  clefs  are  in  general  use  for  the  piano  f 

Two,  the  G  clef,  & ,  and  the  F  clef,  ^- ;  the  first  is  generally  used 

for   the  right   hand,  or  upper    part,  the  second  for  the  left   hand,  or 
lower  part. 

8.  On  which  degree  of  the  staff  is  the  G  clef  placed  1 

On    the    second    line ;    and    a   note     on    that    line    is    therefore 
named  G. 

9.  Name  the  notes  upward  and  downward  from  the  clef  note. 
Clef  note. 

=~        q :.=^, — *  -^ — ^-^ 


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EFGABCDEFG 

The  vujiil  sliould  now  be  thoroughly  exercised  in  the  letter-name  of  the  degrees  of  the 
G  clef. 

10.  On  xchich  degree  of  the  staff  is  the  F  clef  placed  f 

On  the  fourth  line,  and  a  note  on  that  line  is  therefore  named  F. 

11.  Name  the  notes  upivard  and  downward  from  the  clef  note. 

Clef  note. 


D       E       F         G      A 


BURROWES'   PIANO  PRIMER. 


Here  may  profitably  follow  exercises  like  the  following  —  What  letter  is  on  the  fourth 
line?  the  second  line?  the  fourth  space?  the  space  below  ?  the  space  above  ?  the  third  line? 
etc.,  and  these  questions  should  be  patiently  and  perseveringly  repeated  until  the  pupil  is 
familiar  with  the  letter-names  as  fixed  by  each  clef.  An  easy  way  to  remember  the  clef  notes: 
the  G  clef  is  on  the  second  line  from  the  bottom  of  the  staff,  while  the  F  clef  is  on  the  second 
line  from  the  top. 

12.     'iMiy  do  we  vise  both  lines  and  spaces  ?     Why  not  use  the  lines  only,  or  the 
spaces  only  f 

To  use  uine  lines  or  nine  spaces  would  take  up  too  much  room. 


A  nine-space  staff  would  look  like  this 


and  it  would  be  diffi- 


cult to  pick  out  quickly  a  given  line  or  space.  By  using  both  lines 
and  spaces  one-half  the  room  is  saved,  and  the  lines  and  spaces  are 
easily  recognized. 

13.  What  is  the  difference  between  a  line  and  a  space,  musically  speaking  f 
There  is  none,  except  in  name. 

14.  How  is  the  situation  of  the  clef  notes  determined  on  the  keyboard  of  the 
piano  ? 

Find  the  C  key,  which  is  nearest  the  center  of  the  keyboard,  and 
the  G  next  to  its  right  is  the  clef  G,  and  the  F  nert  to  the  left  of  the 
center  C  is  the  clef  F. 

16.     How  are  the  two  staves  {trei)le  and  bass)  combined  in  piano  muMcf 


With  a  brace  and  a  line,  thus : 


16.    Here  are  the  notes  of  the  bass  staff  and  of  the  treble  staff,  combined : 


w 


f 


GABCDEFG      A(BCD) 


EFGABCDEF 


Three  notes,  B,  C,  and  D,  are  laj-king.  between  the  upper  A  on  the  bass  staff  and  t/ie 
lower  E  on  the  treble  staff:  where  are  these  written  f 

On  short  lines  added  above  or  below  the  staff :  these  are  called 
leger  lines.     The  notes  may  be  written  on  the  bass  staff,  thus : 


or  on  the  treble  staff,  thus 


BURRO  WES'   PIANO  PRIMER. 

17.    Are  these  aU  the  leger  lines  rised  f 

No.    All  notes  higher  than  the  space  above  the  treble  staff  are 

GAB      ODE       FG 


written  on  leger  lines,  thus 


m 


and  all 


notes  lower  than  the  space  below  the  bass  staff  are  written  on  leger 

F     E      D      C      B A     G      F 

lines,  thus :  te'  -  -~        -^= 


18.     What  is  the  difference  between  the  following  two  sets  of  notes  f 

G       A     B       C      D       E      F 


■^      ^     ^     ■»-     -^" 


^1= 


The  only  difference  is  that  the  first  set  is  written  on  the  treble  staff, 
and  the  second  set  on  the  bass  staff. 

19.  What  is'' middle  C'f 

Middle  C  is  the  name  given  to  that  C  of  the  piano  keys  which  lies 
nearest  the  middle  of  the  keyboard  (usually  a  little  to  the  left  of  the 
middle).  It  is  the  lowest  C  that  can  be  sung  by  a  soprano  voice,  and 
the  highest  C  that  can  be  sung  by  a  bass. 

20.  On  ivhat  degree  of  the  staff  is  middle  C  written  f 

On  the  first  leger  line  beloiv  the  treble  staff,  and  on  the  first  leger 


line  above  the  bass  staff. 


Table  showing  the  relative  position  of  the  Clef  G,  the  Clef  F,  and  the 

Middle  C. 


w 


ClefF         G         A         B    Middle  C     DBF      Clef  G. 
The  teacher  may  explain  that  the  use  of  treble  and  bass  staves  is  the  result  of  the  old 


style  of  writing  music  on  a  large  number  of  lines,  such  as  this: 


;  of  finding  it  diflSi- 


BURRO  WES'   PIANO  PRIMER.  5 

cult  to  distinguish  the  dilTerent  degrees  on  such  a  staff,  and  of  adopting  the  expedient  of 
striking  out  the  middle  line,  leaving  two  staves,  as  follows  :    -    -    -    -    and  finally,  of  separat- 


ing the  upper  and  lower  statf  so  as  to  malce  room  for  more  leger  lines. 

The  pupil  should  now  be  exercised  in  naming  and  touching  notes  and  keys  as  represented 
on  each  staff,  using  the  following  Exercises  in  Heading  Notes. 

Exercises  In  Beading  Notes. 

TREBLE. 
Below  the  staff.  On  the  staff.  Above  the  staff. 


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On  the  lines  only.       On  the  spaces  only.  Exercises  in  various  treble  notes. 


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5*=z:r^ 


=e^i*-- 


BURRO  WES'   PIANO  PRIMER, 


CHAPTER  11. 


NOTES,    KESTS,    DOTS,    ETC. 


21.  Examining  any  printed  music,  we  observe  that  there  are  notes  of  different 
shapes,  which  are  used  to  represent  sounds  of  various  duration ;  or  as  we  commonly 
say,  length.     Noio,  as  to  duration  (or  length),  name  those  most  frequently  used. 

There  are  six,  as  follows  : 


! 

— 'r^ '=' 

^^^=-\ 

— ^ ^ — 

- — p ^ 

1  .     .^11 

L_i — ■— 

L-t- 

i — U 1 

1 ^ 1 

=1 — — 

Whole-note.      Half-notes.    Quarter-notes.    Eighth-notes.    Sixteenth-notes.    Thirty-second- 

notes. 

22.  What  proportion  do  they  hear  to  each  other  f 

Exactly  that  proportion  which  is  indicated  by  their  name;  thus,  if 
we  suppose  the  whole-note  (<s*)  to  represent  a.Jound  which  is  to  con- 
tinue eight  seconds,  then  the  half-note  is  to  remain  four  seconds ;  the 
quarter-note  two  seconds ;  the  eighth-note  one  second ;  the  sixteenth- 
note  half  a  second ;  and  the  thirty-second-note  only  a  fourth  of  a 
second. 

23.  Describe  their  shape. 

The  whole-note  is  shaped  like  a  capital  0  resting  on  its  side,  but 
not  quite  horizontal.  j=> 

The  half-note  is  shaped  like  the  whole-note  with  the  addition  of  a 
perpendicular  line,  called  a  stem,   J    f 

The  quarter-note  has  a  black  head  and  a  stem.  J  T  The  head  is 
elliptical  and  inclined  at  the  same  angle  as  the  head  of  the  half-note. 

The  eighth-note  is  like  the  quarter-note  with  the  addition  of  an 
arm  or  hook.     ^  ]• 

The  sixteenth-note  has  two  hooks.     ^  5 

And  the  thirtv-second-note  has  three  hooks.   ■  ^  ^ 

24.  What  other  names  do  the  notes  bear  1 

The  whole-note  is  sometimes  called  a  semibreve,  the  half-note  a 
minim,  the  quarter-note  a  crotchet,  the  eighth-note  a  quaver,  the 
sixteenth-note  a  semi-quaver,  and  the  thirty -second-note  a  demisemi- 
quaver.  These  names  are  old-fashioned,  and  are  rapidly  going  out 
of  use. 

Questions  for  p?ar,tioa . 

W!:z,l  is  me  half  of  a  half-note  ?  of  a  quarter-note  f  of  an  eighih-note  i  of  a  six- 
kenth  note  ? 


BURROWES"   PIANO  PRIMER. 


What  is  the  double  of  a  hcUf-note  f  of  a  quarter-note  f  of  an  eighth-note  f  of  a 
sixteenth  note  f 

What  is  the  fourth  of  a  toAote  note  f  of  a  half-note  f  of  a  quarter-note  f  of  an 
eighth-note  i 

26.     What  are  rests  f    Describe  their  shape. 

Characters  indicating  silence,  of  corresponding  value  with  the  dif- 
ferent notes ;  thus : 


^ 


* 


Thirty-second 
reet. 


Whole-rest.       Half-rest.       Quarter-rest.      Eighth-rest.       Sixteenth-rest. 

The  whole-rest  is  a  heavy  black  dash  ._.      _ 

below  and  touching  a  line  of  the   staff.         : 
The  half-rest  is  like  the  whole-   ^      _ 

rest,  but  is  above   its   staff   line.        = 

The  quarter-rest  is  made  in  two  forms,   i   and  p.     Of  these  the 

first  form  is  in  general  use,  as  it  is  more  easy  to  distinguish  from  the 

eighth-rest.     The  second  form  is  rapidly  going  out  of  use  j  it  differs 

from  the  eighth-rest  only  in  that  its  hook  is  turned  to  the  right,  while 

that  of  the  eighth-rest  turns  to  the  left. 

The  eighth-rest  is  like  an  eighth-note  without  its  head,    n 
The  sixteenth  rest  is  like  a  sixteenth  note  without  its  head.  ^ 
And  the  thirty-second-rest  is  like  a  thirty-second-note  without  its 

head.  ^ 

26.     What  is  the  meaning  of  a  dot  placed  after  a  note,  or  rest  f 

The  dot  thus  placed  adds  one-half  to  its  previous  value,  conse- 
quently a  dotted  half-note  equals  in  value  three  quarter-notes  ;  a  dotted 
quarter-note  equals  three  eighth-notes. 


F=i 

J         J         J 

=i= 

=^= 

— =1 — 

— 1 — 

CHAPTER   III. 

TIME   AND    RHYTHM,    TRIPLETS,  ETC. 


27.     What  are  bars  ? 


Short  lines  crossing  the  staff  perpendicularly,  to  divide  the  music 
into  equal  parts ;  the  music  contained  between  two  of  these  is  called 
a  measure,  and  sometimes,  but  incorrectly,  a  bar. 


8  BUREOWES'   PIANO  PRIMER. 

28.  How  many  kinds  of  time  are  there  f 
Double  time  and  triple  time. 

29.  What  is  meant  by  double  time  f 

An  even  number  of  parts  in  the  bar,  as  two,  four,  six,  eight  or 
twelve. 

30.  What  is  meant  by  triple  time  f 

An  odd  number  of  parts,  as  three  or  nine. 

31.  How  is  time  indicated  f 

At  the  beginning  of  every  piece  of  music  we  find  immediately 
after  the  clef,  figures,  looking  like  fractions,  which  indicate  both  the 
kind  of  time  and  the  kind  of  note  which  fills  each  part  of  the  measure. 

32.  How  do  the  figures  refer  to  the  time  ? 

The  upper  figure  or  figures  denote  the  number  of  parts  in  the 
measure,  the  lower  figure  shows  the  kind  of  note  which  forms  the 
single  part ;  thus :    E^5^,   means  four  parts  in  the  measure,  and  a 

quarter-note  to  each  part ;    p^-?-»   two  parts  in  the  measure,  and  a 
quarter-note   to   each;    p/t^,    three   parts   in   the  measure,  with   a 

quarter-note  to  each  part ;     E^:fi~,  six  parts  in  the  measure,  and  an 

eighth-note  to  each  part. 

Instead  of  the  time-mark  |,  we  often  find  the  mark  S;  which  has 
the  same  significance.     |  time  is  often  called  common  time. 

The  time  mark  ^  indicates  ^  and  sometimes  *. 

Explain  the  following  time-marks,  pointing  out  those  which  are  double,  and 
which  triple  time. 

Note.  —  It  is  to  be  observed  by  the  teacher  that  the  rests  have  an  equal  value  In  the  com- 
putation of  time  with  tlie  notes  of  tlie  same  name.  The  pupil  may  here  be  protttably  ex- 
ercised in  counting  the  simpler  forms  (such  as  ^,  ^,  *  and  ^),  with  the  assistance  of  a 
metronome  or  a  pendulum,  easily  improvised  by  a  half-yard  of  thread  and  a  door-key,  or 
anything  of  sufficient  weiglit. 

/      33.     How  7)iani/  varieties  of  double  and  triple  time  ? 

Two  of  each,  simple  and  compound ;  |  4  4  I  |  f  2  ^^^  t  ^^®  called 
simple  time.  «  1  V  4  4  2  ^^^  V  ^^'®  called  compound  time,  for  | 
time  is  a  double  ^  time ;  ^  is  a  triple  I  ;  ^^  a  quadruple  |  ;  |  a  double 
^  ;  ^  a  triple  452^  double  ■^,  and  ^^  a  quadruple  ^.  If  the  number 
of  parts  of  the  measure  as  expressed  by  the  upper  figure  be  less  than 
6,  it  is  simple  time  ;  if  G  or  more,  it  is  compound  time. 


BURROWES'   PIANO   PRIMER. 


Point  out  in  the  examples  of  32,  which  are  simple  and  which  compound. 
34.     WhxU  do  we  mean  by  rhythm  ? 

Rhythm  refers  to  the  regular  occurrence  of  the  accent  in  music. 
^      36.    How  is  this  accent  determined? 

By  the  nature  of  the  time ;  in  2  time,  the  accent  falls  on  the  first 
part  of  the  measure ;  in  *  time,  on  the  first,  and  more  slightly  on  the 
third  part ;  in  ^  time,  on  the  first  part  only  ;  in  |  time,  on  the  first 
and  slightly  on  the  fourth ;  in  I  time  on  the  first  and  very  slightly  on 
the  fourth  and  seventh.  ^ 

NoTK.  —  Syncopation  or  false  accent  vfill  be  explained  in  a  future  chapter.  See  para- 
graph 140. 

36.  How  is  time  counted  f 

By  saying  or  thinking  a  number  on  each  beat.     For  instance,  in 

counting,  |,  e,  t>  ^^^  I'  ""^^  ^^y^  "^'  2.-  ^»  '^j  ^j  ^'  ^'  ^"  '  ^^^-     ^^^ 
3,  |,  or  I,  we  say,  '''  1,  2,  3  ;  1,  2,  3  ; "  etc. :  |,  |,  and  $,  are  counted, 

37.  How  do  we  count  |  and  |  ? 

We  say,  "  1,  2,  3,  4,  5,  6  ;  1,  2,  3,  4,  5,  6  ;  etc.  If  the  time  is  very 
rapid  we  count  simply,  "  1,  2 ;  1,  2  j "  etc.,  saying  "  1  "  on  the  first 
beat,  and  "  2  "  on  the  fourth  beat. 

38.  How  count  I  |  ? 

According  to  the  rapidity  of  the  time,  either  "1,  2,  3,  4,  5,  6, 
7,  8,  9 ;  1,  2,  3,  4,  5,  6,  7,  8,  9 ;  "  etc.,  or  "  1,  2,  3 ;  1,  2,  3  ;  "  etc. 
(on  beats  1,  4,  and  7.) 

39.  How  count  V  and  ^^  1 

Either  in  full,  or  « 1,  2,  3,  4 ; "  (on  beats  1,  4,  7  and  10). 

40.  ^Yhat  is  a  triplet  f 

When  tJiree  eighth-notes  instead  of  two  are  played  to  the  time  of 
a  quarter-note ;  or  three  sixteenth-notes  to  an  eighth-note,  instead  of 
two,  as  given  in  paragraph  22, 

Triplets  are  generally  marked  with  the  figure  3,  thus : 


How  is  the  time  to  be  counted  if  the  music  contains  triplets  ? 

By  the  value  of  the  triplet,  as  explained  in  paragraph  40.  If  there 
are  three  eighth-notes  to  a  quarter-note,  the  time  must  be  counted  by 
quarter-notes ;  if  three  sixteenths  to  an  eighth,  count  by  eighths,  and 
so  on. 


10  BUBROWES'   PIANO  PRIMER. 


CHAPTER  IV. 

POSITION    OF    THE    HAND,    MANNER    OF     PLAYING,    ETC. 

42.  In  what,  position  should  the  hand  and  arm  be  held  f 

Perfectly  horizontal,  neither  raising  nor  depressing  the  wrist ;  the 
fingers  curved,  the  knuckles  slightly  depressed,  so  as  to  bring  the 
finger-tips  even  with  the  end  of  the  thumb. 

43.  Row  many  keys  should  be  covered  by  the  hand  in  its  natural  position  f 
Five ;  one  finger  exactly  over  the  center  of  each  key. 

Note.  —  This  is  now  usually  called  the  flve-flnger  position,  and  the  full  extension  of  the 
hand  is  named  the  octave  position. 

In  striking  a  key  with  one  finger,  care  must  be  taken  not  to  move 
the  others. 

44.  Hoio  many  keys  are  to  be  held  down  at  one  time  f 

Generally,  only  one ;  and  that  must  be  kept  down  until  the  next 
key  is  struck,  hut  no  longer. 

When  two  or  more  keys  are  struck  simultaneously,  they  are  con- 
sidered as  one,  and  must  be  held  until  the  following  key  or  keys  are 
struck. 

45.  In  what  cases  should  the  fingers  he  raised  f 

Whenever  rests  occur,  and  whenever  a  passage  is  marked  staccato 
(stac-ca-to).     (See  top  of  pages  78  to  86  for  pronunciation  key.) 

46.  What  is  meant  by  staccato? 

Detaching  the  notes  from  each  other,  by  raising  the  finger  from  one 
key  before  striking  the  following  one. 

47.  How  do  we  mark  notes  lohich  should  be  played  staccato? 

By  the  word  staccato,  placed  over  or  under  the  notes ;  by  dots,  or 
by  short  pointed  dashes,  also  placed  over  or  under  a  passage,  one  to 
each  note.  Xotes  marked  by  dots  should  be  played  moderately  stac- 
cato ;  those  with  dashes,  very  much  so. 

48.  What   is   meant    by  legato    (la-gra-to),  and  how  do  we  mark  notes  which 

sfiould  be  so  played  ? 

Legato  is  the  opposite  of  staccato,  marked  either  by  the  word  legato, 
or  by  a  curved  line  called  a  slur.  Such  a  passage  should  be  played 
very  smoothly  and  connectedly,  always  keeping  one  key  down  till  the 
next  is  struck. 


BURROWES'    PIANO  PRIMER. 


n 


^^^^=-^=^^^m 


staccato. 


^^^^^m 


Full  Staccato 


49.     What  is  a  tie,  or  biiid  ? 

A  character  like  a  slur,  but  applied  to  two  consecutive  notes  on  the 
same  line  or  space  of  the  staff;  it  means  that  only  the  first  note  is  to 
be  struck,  although  the  finger  must  be  held  down  the  full  time  of  both 
notes. 

tie.  tie.  tie. 


i 


m 


-f— »- 


Note.  —  The  tie  connects  two  notes  of  the  same  sound  only.    If  the  notes  are  of  diifereut 
Bound,  the  character  is  called  a  slur.    (See  paragraph  48.) 

tie.  slur. 


^^^^ 


How  should  we  play  notes  marked  by  both  dots  and  slurs  f 

If  a  repetition  of  the  same  note  they  should  be  played  as  closely  as 
possible,  each  note  receiving  precisely  the  same  accent. 


If  a  succession  of  notes,  the  finger  should  be  put  down  gently  but 
with  great  quickness,  and  raised  gently,  with  the  same  rule  as  to  ac- 
cent.    This  effect  is  often  called  2Jortame7ito. 


Note.  —  The  pupil  should  not  confuse  the  significance  of  these  dots  over  or  under  the  notes 
with  the  significance  of  a  dot  after  a  note.    (See  paragraph  20.) 

60.     How  should  the  keys  be  struck  ? 

1st.  Lifting  each  finger  at  the  first  or  knuckle  joint,  and  bringing  it 
swiftly  down,  like  a  hammer,  without  any  motion  of  the  wrist  or  elbow ; 
this  is  the  ordinary,  or  legato  touch.  2d.  liaising  the  entire  hand 
slightly  from  the  wrist,  and  striking  partly  from  the  wrist,  and  partly 
from  the  finger  as  before ;  this  is  the  staccato  touch,  and  is  also  neces- 
sary when  we  have  to  play  vigorously  several  notes  at  once,  or  chords 
as  they  are  called. 


12 


BUEEOWES'   PIANO  PRIMER. 


51.     WTiat  are  the  principal  faults  of  position  and  touch  f 

1st.  The  hands  raised  from  the  thumb,  so  that  a  key  struck  by 
the  little  finger  is  struck  by  the  side,  and  not  by  the  tip  of  that  finger. 

2d.     The  thumb  hanging  over  the  edge  of  the  key -board. 

3d.  Playing  from  the  elhow  instead  of  from  the  wrist,  in  chords 
pnd  staccato  passages. 

4th.     Disregard  of  the  legato  and  staccato. 

Note.  —  Other  grave  faults  will  be  mentioned  when  we  come  to  speak  of  the  scales. 


CHAPTER  V. 


BLACK  KEYS,  SHARPS,  FLATS,  THE  SIGNATURE,  ETC. 

52.  What  is  an  interval  f 

The  difference  between  two  sounds ;  or  rather,  the  difference  of 
sound  between  two  separate  keys,  whether  played  simultaneously  or 

successively. 

53.  What  is  the  smallest  interval .? 

The  smallest  interval  possible  on  the  piano  is  called  a  semitone, 
and  is  the  distance  from  any  key  to  the  key  next  adjoining,  whether  a 
black  or  white  key. 

54.  What  is  a  sharp  ?  (J) 

A  sharp  placed  before  any  note  raises  it  one  semitone,  or  to  the 
next  key  on  the  right. 

Example. 


55.     What  is  a  fiat?  (b) 
A  flat  placed  before  any  note,  lowers  it  one  semitone,  or  to  the  next 

Example. 


BURROWES'   PIANO  PRIMER. 


13 


Note.  — "We  observe  that  each  black  key  may  serve  either  as  a  flat  or  sharp  :  thus  FJ  and 
Gb  are  played  upon  the  same  key  ;  so  of  Ajf  and  Bb  ;  I)$  and  El?  ;  CJ  and  Db. 

The  pupil  should  now  be  made  thoroughly  familiar  with  the  names  of  the  black  keys  by 
such  questions  as  these ;  strike  C$,  Bb,  FJ,  Db,  Df ,  Ab,  GrJ,  Gb,  and  this,  first  in  the  middle 
octave,  and  then  in  each  and  every  octave. 

66.     What  is  a  natural  ?   ( 5 ) 

A  natural  cancels  the  flat  or  sharp,  and  restores  the  note  to  its 
former  place  on  the  key-board.  Consequently  the  effect  of  a  5  is 
sometimes  to  raise  and  sometimes  to  lower  a  note. 

Example. 


:3p5=tr5sfcz:d 


67.     VHiy  are  sharps  and  flats  placed  at  the  beginning  of  a  piece  of  music  f 

Sharps  or  flats  placed  at  the  beginning  affect  all  the  corresponding 
notes  of  the  same  letter-name,  throughout  the  piece,  unless  cancelled 
by  a  natural;  thus  a  sharp  placed  immediately  after  the 
clef  on  the  fifth  line,  signifies  that  every  letter  F  in  all  octaves 
must  be  played  on  the  black  key  next  above  (to  the  right  of)  the  Vhite 
key  named  F.  A  flat  so  placed  on  the  third  line  -fr —  signifies  that 
every  letter  B  in  each  octave  must  be  played  on  ^==  the  black  key 
next  below  (to   the  left  of)  the  white  key  named  B. 

Example. 
Bb  Bb 


The  clefs,  sharps,  or  flats,  and  time-marks  at  the  beginning  of  a 
piece  are  collectively  called  "  the  signature  "  ;  or  the  clefs  and  sharps 
or  flats  are  called  the  "key-signature"  ;  and  the  time-marks  the  "  time- 
signature." 

58.     Does  the  signature  always  remain  the  same  throughout  the  piece  f 

Not  always.  In  many  pieces  both  time  and  key  are  changed,  some- 
times frequently  ;  but  the  piece  almost  invariably  ends  in  the  key  in 
which  it  was  begun. 

69.      What  are  accidental  flats,  sharps,  and  naturals  f 

Such  as  occur  in  the  course  of  a  piece,  not  marked  at  the  beginning. 


u 


BURROWES'   PIANO  PRIMER. 


Note.  —  Strictly  speaking,  the  previous  definition  is  faulty  and  likely  to  mislead  the  pupil 
In  advanced  work.  It  should  be  stated  that  the  word  accidental  refers  only  to  notes  so  changed 
for  the  purpose  of  ornament,  or  graceful  melody,  and  not  at  all  to  those  which  are  harmonic, 
and  involve  a  change  of  harmonic  relation.    See  also  the  minor  scale,  paragraph  124. 

Note. —  The  appoggiatura,  as  well  as  the  other  ornamental  notes,  can  not  be  reduced  to 
exabt  rules,  as  they  depend  somewhat  on  the  taste  and  judgment  of  the  performer,  and  can 
best  be  explained  as  they  occur. 

60.    Row  long  does  the  influence  of  an  accidental  last  f 

Throughout   the    measure,  on   all   notes   of   the  same  name;    for 

example,  - 


'^Er^^f~r=f-f-T-f-^r^  signifies  that  all  the  Cs  are  to  be 


sharp,  though  only  the  first  C  is  marked.     The  passage  is  to  be  played 


as  if  it  was  written  Eg5z^^rtrp*^^^?Et3- 

61.     Does  an  accidental  effect  the  notes  of  the  same  name  in  other  octaves  than 
its  own  {i.  e.,  higher  or  lower  than  itself)  ? 


Yes.     If  you  find  passages  such  as  the  following  t^Sz^ 


all  the  Bs  are  to  be  played  B-flat,  as  if  written  [iraiB^: 


In  like  manner,  the  following  passage  Pffi-g7*3=33if^^  would  be  played 


:&.-ti=jt3^rij;i'*Eu;f=|.     But  it  is  customary  in  modern  music  to  add  a 

new  accidental  for  each  octave,  and  in  good  editions  such  passages  as 
the  above  would  be  written  like  the  second  and  fourth  examples  in 
this  paragraph. 

62.     Do  accidentals  ever  effect  notes  in  the  measure  following  f 

Yes,  in  old  usage.      If  the  last  tone  of  one  measure,  which  has 
been  sharped,  begins  the  next  measure,  it  is  to  continue  sharp  ;  and 

the  same  rule  holds  good  with  flats  and  naturals.     ^^^^Zprj^^^^rn*^ 

»j      D-sCarTr' 

^  J.  ,  -  -*-■»■     -m- 


But  modern  usage  would   repeat 


tJ  F-natural 

the  accidental  in  the  second  measure,  writing  these  passages  thus, 


gE&?«|gf^^^'^ 


^  and  ^S'^BEJ^^ 


^ 


^ 


The  only 


exception  to  this  usage  is  where  the  notes  in  question  are  tied,  i.  e"., 
joined  so  as  to  be  played  as  one  note  (  see  paragraph  49);  in  which  case 


BURROWES'   PIANO  PRIMER. 


16 


the  accidental  would  be  used  only  once,  thus,  -m^-r-fEr-^-^-  T  T  r~j 


gfee^ 


:S±-. 


i 


— t— 


^-^: 


^ 


If  the  tied  note  occurs  a  second  time  in  the  second  measure,  the 
proper  usage  is  to  indicate  clearly  what  is  desired,  as  in  the  two  ex- 
amples which  follow. 


p^^^^^il  ^l^g^^lt^^ 


63.     Give  all  the  names  that  you  know  of  the  keys  of  the  piano  ? 
C,  C$  or  D&  D«  or  Eb,  E,  E,  F$  or  Gb,  G,  G«  or  Ab,  A,  A«,  or  Bb, 
B,  C.  '  ' 


CHAPTER   VI. 

THE    DOUBLE    BAR,    REPEAT,    DA    CAPO,    DAL    SEGNO,    ETC. 

64.     What  is  a  double  bar  ? 


Double  bars  are  placed  at  certain  points  or  at  the  end  of  a  piece 
of  music  to  show  that  a  part  or  the  whole  is  finished.  They  can 
occur,  (a)  at  the  end  of  a  piece,  (b)  at  the  end  of  a  section,  (c)  at  the 
end  of  every  part  that  is  to  be  repeated  and  almost  invariably  at  the 
place  where  the  repeat  begins,  and  (d)  at  every  change  of  key,  time 
or  movement. 

65.     Whai  is  the  meaning  of  a  row  of  dots  at  a  bar  or  double  bar  ? 

Repeat  what  has  gone  before.    Repeat  what  lies  between.    Repeat  what  follows. 


The  portion  of  the  music  which  is  on  the  same  side  (left  or  right 
hand  side)  of  the  bar  as  the  dots,  must  be  repeated  ;  that  is,  played 
twice  in  succession  before  proceeding  to  the  next  division.  This  is 
commonly  called  a  repeat. 


Note.  — These  three  different  significations  of  the  dot,  as  exemplified  in  paragraphs  26,  47 
and  49,  should  be  carefully  noticed  and  thoroughly  comprehended  by  the  pupil,  that  he  may 
not  confuse  them. 


16 


BURROWES'   PIANO   PRIMER. 


66.     What  is  the  sign?  (S) 

A  character  used,  for  conyenient  reference  to  any  portion  of  a 
piece,  as  at  a  repeat,  when  only  a  part  of  the  preceding  music  is  to  be 
played  twice.  It  is  generally  used  in  connection  with  the  words 
Dal  Segno  (dal  sdn-jo)  or  the  abbreviation  D.S.,  meaning  "  From  the 
sign,"  and  indicates  the  place  where  the  repetition  should  begin  : 


Jtzz:^: 


=3=^= 


as  above,  where  the  repeat  commences  with  the  second  measure,  and 
not  with  the  first. 

67.  What  is  the  meaning  of  Da  Capo  (da  -BTa-po)  dbtrreviated  D.C.  ? 
A  repeat  from  the  beginning  of  the  piece. 

68.  What  is  the  meaning  of  Da  Capo  al  Segno  ? 

Go  back  to  the  beginning  of  the  piece  and  play  as  far  as  the  sign. 

69.  Why  are  the  figures  1  and  2  sometimes  placed  at  a  repeat  f 

The  figures  denote  that  on  the  repetition  or  second  time  of  play- 
ing, the  measure  marked  1  is  to  be  omitted,  and  the  one  marked  2 
played  instead : 

n 


m 


ss 


;3^ 


Note.  —  For  the  same  purpose  are  used  the  Italian  words  Prima  Volta,  (/"rg-ma  V6l-ta,), 
Seconda   Volta;  (S6-A*oo«-da   FdZ-ta),  abbreviated  ima,  2da,  meaning  precisely  "  First  Time," 

"  Second  Time." 

70.     M'hat  is  a  pause  /tv,  sometimes  called  a  hold? 

When  placed  over  a  note,  it  signifies  that  the  time  should  be 
suspended,  and  the  sound  prolonged  for  an  indefinite  period ;  usually 
twice  the  value  of  the  note. 


-i — ^^-f^ 


The  effect  of  the  above  is  much  as  follows  : 


t=5- 


"^5?=*= 


When  placed  over  a  rest,  silence  should  in  like  manner   be  pro- 
longed. 


^  =  i  -— * 

—rSi 

F=^^^      J    ^-i 

:^— -*— •— r- 

-^ 

-^  ^  "  r- 

Placed  over  a  double   bar,  a  pause  denotes   the  place  where  the 
piece  is  to  end,  after  the  Da  Capo. 


BURROW ES'   PIANO  PRIMER. 


17 


It  is  then  called  a  close. 

Note.  —  The  Italian  word  Fine  (Fe-vX)  is  also  used  for  the  same  purpose,  to  indicate  a 
final  close,  often  both  r^  and  Fixe  are  used. 

71.      What  is  the  meaning  of  the  word  his  ^     (Bes) 

Literally  it  means  "  Twice,"  or  "  Again."  It  is  generally  accom- 
panied by  dots  at  the  bar,  and  placed  under  a  slur ;  it  then  signifies 
that  the  passage  over  which  it  stands  should  be  played  twice  over. 


72. 

V.S.f 


What  is  the  meaning  of  Volti  Subito,  (v61-tl  su-be-to)  generally  abbreviated 


Literally  "  Turn  the  leaf  quickly"  ;  it  is  placed  at  the  bottom  of  a 
right-hand  page,  and  is  a  hint  to  the  player  that  the  piece  must  con- 
tinue uninterruptedly,  with  the  inference  that  some  sudden  change  of 
time,  or  difficult  passage  may  be  expected. 

73.  ^Mlat  is  the  meaning  of  Ottava  Alta,  {oi-td-va,  al-ta.)  generally  abbreviated 
Sva ?     What  of  Loco?    (Id-c6) 

8i'a  signifies  that  the  notes  over  which  it  is  placed  should  be  played 
an  octave  higher  than  written.  Loco  means  "  In  place,"  and  occurs 
always  after  the  Sva  to  denote  the  return  to  the  original  place  on  the 
staff.  In  piano  music  the  Sva  is  much  used  to  avoid  the  necessity  of 
a  bewildering  number  of  leger-lines  in  very  high  passages  ;  thus,  the 
passage.  j^^ 

8va. 


really  means  this 


.,-.  ^  :^   C:  1=  XT 


^iMSfeE 


Note.  — We  sometimes  find  the  words  8t'a  bas.ia,  which  mean  that  the  passage  should  he 
played  an  octave  lower  than  written,  the  word  loco  being  used  as  above.  The  mark  8vi,  or  con 
8fi',  means  that  the  passage  should  be  played  as  written,  with  the  addition  of  the  octave  to 
each  note.  If  placed  over  a  passage  the  octave  above  should  be  added,  if  under  a  passage,  the 
octave  below,  as  follows: 

8v% 


Written. 


VTllblfCIl.  ^^^^^0^ 


8vi. 


18 


BURR  OWES'   PIANO  PRIMER. 


Played. 


74.     In  piano  music  how  many  staves  are  included  by  the  brace  f 

Two  only  ;  except  in  the  case  of  accompaniments  to  songs,  duets, 
etc.,  when  there  are  also  included  with  the  two  piano  staves  as  many 
staves  as  there  are  voice-parts. 

Compare  paragraphs  7,  15  and  16. 

76.  When  two  staves  are  included  in  the  brace,  is  it  always  ike  case  that  the 
upper  staff  has  the  G  clef  ffi,  and  the  lower  the  F  clef  ^  ? 


It  is  not.     Often  we  may  find  the  G  clef  on  both  staves,  or  the  F 
clef  on  both. 


However,  the  upper  staff  is  always  for  the  right  hand  and  the 
lower  for  the  left  hand,  excepting  in  rare  cases  indicated  by  R.  H. 
(right  hand)  or  ^1.  D. ;  and  L.  H.,  or  j\t.  G.  (Italian  M.  S.),  meaning 
left  hand. 

The  pupil  should  now  be  exercised  in  naming  all  the  keys  of  the  piano  without  looking  at 
them,  observing  tliat  the  black  keys  are  sometimes  sharps  and  sometimes  flats  (see  paragraph 
55.  Note).  The  wliite  keys  also,  commonly  named  E,  F,  B  and  C,  frequently  change  their 
names  and  appear  as  flats  or  sharps  to  their  adjoining  keys ;  for  example,  BJ,  Cfr,  E$,  Fb,  as 
has  already  been  stated   in  paragraphs  54  and  55. 

Double  sharps  and  double  flats  will  be  explained  in  paragraph  112.    Questions  like  the  fol- 
lowing will  be  found  useful. 

Is  B  a  white  or  black  key '.'  Ts  Bb  a  wliite  or  biack  key  ?  Is  BJ  a  white  or  black  key?  Is 
F  a  white  or  black  kev '.'     Is  FS  a  white  or  black  kev?      Is  Ff>  a  white  or  black  key?    And  so 

with  all  the  letters. 

76.      What   is  the  difference   between  a  chromatic  and  a  diatonic  half-step  or 

semitone'  * 

*  The  words  semitone  is  incorrect  although  generally  used.  An  interval  is  neither  a 
tone  nor  a  "  half-tone."    Nevertheless,  we  have  retained  the  old  name. 


BURROWES'   PIANO  PRIMER. 


19 


A  chromatic  semitone  is  a  half -step  effected  by  the  sharp  or  flat, 
without  change  of  position  on  the  staff.  A  diatonic  semitone  is  one 
where  the  notes  are  on  adjoining  degrees  of  the  staff. 


Chromatic  Semitones. 


Diatonic  Semitones. 


f 


«=?= 


Note.  —  Observe  that  the  above  are  of  identical  sound  on  the  piano, 
monic  equivalents.    (See  paragraph  136.) 


They  are  enhar- 


77.     Name  some  of  the  chromatic  semitones. 

A  to  Aj ;  B  to  Bl ;  C  to  C$ ;  D  to  D«,  etc. 

Name  some  of  the  diatonic  semitones. 

E  to  F ;  F  to  Gl7 ;  G  to  Au ;  C  to  I> ;  D  to  Eb ;  B  to  C,  etc. 
See  Appendix,  Section  C. 


CHAPTER   VII. 


ORNAMENTAL    OR    GRACE-NOTES    AND    COMMON    MARKS    OF    EXPRESSION. 


78.     What  is  an  appoggiatura  ?  (5p-p5g-gya-too-ra) 

a.  Ordinarily  the  word  means  an  ornamental  note  prefixed  to  the 
melodic  note,  from  which  it  usually  takes  half  its  time  value ;  it  is 
generally  written  in  a  character  of  smaller  size  than  its  principal  — 
the  accent  falling  on  the  appoggiatura.  This  is  called  the  long 
appoggiatura. 


Written. 


Written. 


r    Played. 


m 


Played.    - 


b.  Should  there  be  a  dash  or  short  line  drawn  through  the  stem  of 
the  appoggiatura,  it  should  be  played  as  quickly  and  distinctly  as 
possible,  the  accent  then  falling  on  the  principal  note.  This  form  is 
called  the  short  appoggiatura  or  accacciatura  (ac-cSrchya-foo-ra) 

..    _ .K.  ^  K, 

Written.    E: 


:fa:fe= 


«--F^ 


20 


BURROWS S'   PIANO  PRIMER. 


Played. 


^;;fca£j^#^N^^ 


Double  and  even  triple  appoggiaturas  occasionally  appear  — 


these  should  be  played  in  strict  conformity  with  the  foregoing  mlea 

Notes.  —  Appoggiaturas  and  accacciatoraa  may  be  classed  as  diatonic  or  chromatic- 
Chromatic  Accacciatnras.  Diatonic  Accacciatnras. 


^^ 


■When  the  double  appoggiatura  comes  after  the  accent,  that  is,  between  two  notes  inside 
•  •      •     t^g-  •        -  -    • 


the  bar,  we  should  take  tne  time  from  their  preceding  note. 


WriUen. 


Hi^ 


Played.    £^1^=?=^^= 


:7r-=«= 


79.     When  the  appoggiatura  is  placed  before  a  dotted  note,  how  is  U  to  he 
played  ? 

The  appoggiatura  takes  the  time-value  of  the  principal  note ;  and 
the  principal  note  takes  the  value  of  the  dot : 


Written. 


Played. 


=*= 


Written. 


Played. 


Note.  —  The  appoggiatura  as  well  as  the  other  ornamental  notes,  can  not  be  reduced  to 
exact  rules,  as  they  depend  somewhat  on  the  taste  and  judgment  of  the  performer,  and  can 
best  be  explained  as  they  occur. 

80.  When  an  appoggiatura  is  placed  before  a  note  of  a  chord,  how  sTiould  it  be 
played  f 

The  appoggiatura  is  to  be  played  instead  of  part  of  its  principal, 
consequently  the  other  note  or  notes  must  be  struck  with  the 
appjoggiatura. 

Written,      'x-j^—s—^  -j      Played.      E^zJtz^^^ 


BURROWES'   PIANO  PRIMER. 


21 


Written. 


P 


Played. 


^ 


Note.  —  Modern  composers  usually  write  the  appoggiaturas  exactly  as  they  are  to  he  played 
excepting  only  such  cases  as  are  specified  in  paragraph  78,  B. 


i 


Above,  the  notes  marked  thus  (V)  are  appoggiaturas,  —  but  not  written  as  small  notes. 

81.     How  is  a  turn  -^  played  f 

If  the  note  followiug  the  note  on  which  the  turn  is  to  be  made 
is  the  higher  of  the  two,  the  turn  should  be  made  by  playing,  first,  the 
note  above  the  principal  (or  written)  note;  second,  the  principal  note; 
third,  the  semitone  below,  finishing  with  the  principal  note  :  except- 
ing that  when  the  turn  is  on  the  seventh  sound  of  the  scale  (called 
the  leading  tone).  The  lower  note  of  the  turn  must  be  played  a  whole 
tone  below.     (  See  paragraph  115.) 


Written. 


•# 


g 


Written,     i 


Played. 


Played. 


^^m 


Written. 


Written. 


Written. 


Written. 


P^ 


Played. 


S^E 


22 


BUBROWES'   PIANO  PRIME B. 


Written, 


Written. 


Written. 


^ 


i 


f 


^    r 


Played. 


Played. 


Played. 


^^ 


f^r^ 


J=T5: 


ti^i^t^:^ 


But  the  following  turn  being  on  the  leading-tone,  is  played  thus, 
as  explained  above : 


Written.    E 


Played. 


and  not  thus, 


82.     How  is  a  turn  made  on  a  dotted  note  ? 

Strike  the  principal  note  and  make  the  turn  afterwards. 


Written. 


^^ 


Played. 


Written. 


=ilfed^    Played,    ^^j^fcg^^ 


83.     What  is  an  inverted  turn  ? 


It  is  played  with  the  same  notes  as  the  ordinary  turn  but  beginning 

with  the  lowest  instead  of  the  highest  note. 


Written. 


Played. 


-1 <-^— -^  m    ''    » 


^Make  an  inverted  turn  on  A,  B,  C,  D,  E,  F,  etc. 

84.     What  is  the  trill  (tr)  ? 

The  trill  is  made  with  the  principal  note,  and  the  note  above ;  alter- 
nating  with  as  much  rapidity  as  the  ability  of  the  player  will  allow, 
and  concluding  with  a  turn. 

Written.  Played  (at  ordinary  speed). 


-■^ft- 


m 


(     !     '.     !     .— I— fi 


In  rapid  passages  the  sign  tr  is  often  understood  to  mean   only 
the  half  trill,  which  does  not  include  the  turn. 


BURROW Er   PIANO  PRIMER. 


23 


Played. 


Note. — There  are  other  kinds  of  trills  which  can  best  be  explained  by  the  teacher  as  they 
occur  in  practice. 

85.  What  is  the  meaning  of  the  wotd  p^ano  ?     (pe-a-nO) 

Softly,  gently,  with  a  light  touch ;  generally  abbreviated  p  ;  some 
times  pia.  Its  superlative  jnanissimo  (pe-a-nls-sl-mo)  (ppmo  or  pp) 
means  extremely  soft,     (For  pronunciation  key  see  top  of  page  79). 

86.  What  is  the  meaning  of  the  word  forte  (fore-tS)  (abbrev.  f ;  sometimes  for.)? 

Loud,  with  a  firm,  vigorous  touch  :  its  superlative,  fortissimo  (fore- 
tts-slmo),  ffmo  or  ff,  means  very  loud. 

87.  What  is  the  meaning  of  mezzo-forte  and  of  mezzo-piano?  (mUz-zG) 

Mezzo-forte  (mf)  means  moderately  loud,  and  mezzo-piano  (mp') 
moderately  soft. 

88.  Wliat  is  the  meaning  of  do\cQ  {dio\.)?    ((W^chg) 

Sweetly,    rather  soft,  and  usually  without  any  very  marked  accent. 

89.  Whai  is  the  meaning  of  tenuto  (ten.)  ?     (t6n-oo-t5) 

Generally  placed  over  a  note  of  considerable  duration,  it  signifies 
that  the  key  is  to  be  firmly  held  down  for  the  full  and  exact  time  of  the 
note. 

90.  What  is  the  meaning  of  sfoTzaxido  ?    (sfore-izftn-ds) 

Generally  abbreviated  sfz,  sf,  or  fz,  also  by  the  small  triangular 
character  =>  or  y,  it  signifies  that  the  note  should  be  struck  with  a  sud- 
den and  marked  degree  of  force. 

91.  Whai  is  rinforzando  ?     (rlu-fore-fzan-dO) 

Literally,  reinforcing.  It  means  that  a  chord,  phrase,  or  entire 
passage  should  be  played  with  especial  emphasis  or  a  sudden  increase 
in  loudness :  abbreviated,  rinf,  rfz.,  or  rf. 

92.  What  is  the  meaning  o/ crescendo  or  cres.  ?     (cr6-sAdn-d5) 

Gradually  inceasing  in  loudness.  The  long  triangular  sign  — =r 
means  the  same. 

93.  What  is  the  meaning  o/ diminuendo  or  dim.  ?     (di-mi-noo-en-do) 
Gradually  diminishing  in  loudness  ;  also  indicated  by  the  sign  =- 

XoTE.  —  The  crescendo  followed  by  the  diminuendo,  is  called  the  swell,  and  played  thus: 


ff      mf 


24 


BURRO WJES'   PIANO  PRIMER. 


94.  WTiat  is  the  meaning  of  ritardsindo,  rii&rd.,  or  rit.  ?     (ri-tar-<fa»-dO) 

Taking  a  slower  tempo  from  tlie  point  where  the  word  rit,  occurs; 
and  maintaining  it  until  the  sign  a  tempo  is  met.  (See  paragraph  97.) 
The  word  slentando  (sl6n-^ari-do)  (now  seldom  used),  abbreviated,  slent., 
means  precisely  the  same,  and  refer  to  a  single  passage  only ;  when 
a  permanent  and  sudden  change  of  time  is  desired,  it  is  marked  piu 
lento,  (pe-oo  lento)  meaning  slower,  or  piu  mosso,  faster,  as  the  case 
requires.     (See  paragraph  138  D.) 

95.  ^VhaJt  is  the  meaning  o/ rallentando,  or  rail.  ?    (ral-Sn-fan-dO) 
Gradually  slower  in  tempo. 

96.  What  is  the  meaning  of  calando  or  cal.  ?     (ca-Mn  d5) 

Gradually  slower  and  softer,  literally  disappearing.  The  word 
perdendo  (pair-d6n-(Zo)  means  the  same. 

97.  What  is  the  meaning  of  a  tempo  ?     (a  tem-ipS) 

It  usually  follows,  rit.,  rail.,  or  slent.,  and  signifies  that  the 
original  tempo  is  to  be  resumed. 

98.  Whal  is  the  meaning  of  tempo  primo  ? 

It  is  sometimes  used  with  the  same  significance  as  a  tempo,  but 
is  more  correctly  used  after  p>iu  lento  or  piii  mosso,  to  rest  on  the 
original  tempo.  Tempo  jirimo  means  "  the  first  time,"  i.e.,  the  original 
tempo. 

99.  What  is  the  meaning  of  ad  libitum,  (Sd-K-bi-tum)  or  ad  lib.  ?  What  of 
a  piacere  ?     (a  pe-a-cha-ra) 

Both  phrases  have  the  same  meaning,  which  is,  that  the  player  is 
at  liberty,  if  he  thinks  proper,  to  slacken  the  time  and  play  the  written 
notes  of  a  passage  according  to  his  taste  and  ability. 

Note. —  Placed  over  a  pause  in  the  middle  of  certain  old  pieces,  it  signifies  that  the  player 
is  desired  to  introduce  any  cadence  or  embellishing  passage  he  may  think  suitable  to  the 
general  character  of  the  piece. 

100.  Wfien  two  notes  are  marked  hij  a  slur,  how  should  they  be  played  f 

The  first  note  should  be  struck  firml}-,  the  second  note  less  loud, 
and  the  finger  raised  immediately,  thus  : 


101.     What  is  meant  by  a  curved  or  waved  line  placed  before  a  chord  ? 


1(11 


Plaved. 


BURRO  WES'   PIANO  PRIMER.  25 

It  signifies  that  notes  should  not  be  struck  exactly  together,  but  in 
rapid  succession  from  the  lowest  note  upwards. 

Note.  —  A  chord  played  thus  is  usually  called  an  arpeggio  {sLr-pSd-gyo) .  Arpeggios  are 
frequently  written  out  in  full,  extending  over  several  octaves'  of  the  keyboard.  The  second 
sign,  (,  is  rarely  used. 

For  pronunciation  key,  see  top  of  page  78  to  86. 


CHAPTER  VIII. 

INTERVALS,    HOW   WBITTEK  AND  NAMKD. 

102.     The  word  interval  is  explained  in  paragraph  52 ;  how  do   we  name  the 
various  intervals  i 

By  reckoning  upward  the  number  of  letters  or  degrees  of  the  staff 
embraced  by  the  two  notes,  and  naming  the  interval  by  their  ordinal 

numeral;  thus,   -^     J     ~^ —   comprises   two   degrees   of   the  staff, 

and  the  interval  G — A,  is  therefore  called  a  second. 

What  note  is  a  second  from  C  f  from  D  f  from  E  f  from  F  f  from  G  f  from 
A  ffromBf 

From  E  to  G  comprises  three  degrees,  E,  F,  G 
and  the  interval  E — G  is  therefore  a  third. 


f 


E      F    G 

What  note  is  a  third  from  C?  D?  Ff  G?  A?  Rf 


From  D  to  G  comprises  four  degrees,  F^i 

urth.      E^- 


and  the  interval  D — G  is  therefore  a  fourth 

WJiat  note  is  a  fourth  from  CfE?F?G?A?B? 

From  F  to  C  comprises  five  degrees, 
and  the  interval  F — C  is  therefore  2i  fifth. 


— — >     •  ^^ 


A    B 


What  noteisafifthfromCfBfEf  G?  A?  Bf 

From  C  to  A  comprises  six  degrees, 
and  the  interval  C — A  is  therefore  a  sixth. 

What  note  is  a  sixth  from  DfEfFf  Gf  A?  B? 
From  B  to  A  comprises  seven  degrees, 


"^    D    E     F     G     A 


B      C      D     E      F      G      A 

and  the  interval  B — A  is  therefore  a  seventh. 


26 


BURRO  WES'   PIANO  PRIMER. 


What  note  is  a  seventh  from  CfBfEfFfGfAf 

From  any  note  to  the  next  of  the  same  letter  name  above  is  an 
octave,  because  they  comprise  eight  degrees,  thus  : 

C  .      D  E  G 


^ 


^  f 


G 


f 


are  all  octaves,  as,  for  instance : 

"^   D   E 
eight  degrees.*     (See  Section  D  of  Appendix.) 

103.  Do  accidentals  (paragraph  59)  placed  before  either  of  the  notes  affect  the 
number  name  of  the  interval  ? 

They  do  not.  From  G  to  A  is  a  second,  G — Aj  is  also  a  second, 
so  is  G — Af?,  G^ — A  is  still  a  second,  and  so  is  Gjf — A,  and  so  of  the 
other  intervals. 

104.  Then  are  all  intervals  of  the  same  name  also  of  the  same  extent  on  the 

keyboard  f 

They  are  not.  They  are  divided  into  two  classes,  of  which  some 
(seconds,  thirds,  sixths  and  sevenths)  are  called  major  (greater)  and 
minor  (lesser)  ;  and  the  others  (primes,*  octaves,  fifths  and  fourths) 
are  called  either  perfect,  augmented,  or  diminished. 

105.  How  do  we  determine  to  which  species  any  interval  belongs  ? 

By  observing  how  many  semitones  the  interval  contains.  For  in- 
stance, the  interval  B — C  is  a  second,  and  the  interval  C — D  is  also  a 
second,  but  the  B — C  contains  only  one  semitone,  while  C — D  contains 
two,  from  C  to  Db  and  thence  to  Dj,  hence  every  second  of  one 
diatonic  semitone  is  a  minor  second,  and  every  second  of  one 
diatonic  and  one  chromatic  semitone  is  a  major  second,  sometimes 
(but  carelessly)  called  a  tone. 

106.  What  is  the  difference  between  major  and  minor  thirds  ? 

A  minor  third  has  three  semitones  and  a  major  third  has  four ; 
D— F,  E— G,  A— C,  are  minor  thirds  ;  C— E,  G— B,  F— A,  D— F$, 
E — Gj,  A — C',  are  all  major  thirds.  Again  C$ — E,  G — Bb,  F — A^ 
are  minor  thirds. 

107.  Describe  the  fourths. 

Tlie  perfect  fourth  has  five  semitones;  the  augmented  fourth 
has  si.x:,  and  the  diminished  fourth  has  four. 

•Two  tones  on  the  same  degree  of  the  staff  form  intervals  called  primes. 


Prime. 


Prime. 


BURRO  WES'   PIANO  PRIMER. 


27 


Perfect  Fourth. 


Aagmented  Fourth. 


Diminished  Fourth. 


12345  123456  123 

What  note  is  an  augmented  fourth  from  C?  Df  Ef  G?  Af  Bf 
V/hat  note  is  a  diminished  fourth  from  C  f  Df  E  f  Gt 
108.     Describe  the  fifths. 

The  perfect  fifth  has  seven  semitones,  the  augmented  fifth  has 
eight  semitones,  and  the  diminished  fifth  has  six  semitones. 

Perfect  Fifth.  Augmented  Fifth.  Diminished  Fifth. 


12    3 


4    5    6 


12345678 

What  note  is  an  augmented  fifth  from  C?  Df  F?  Gf 
What  note  is  a  diminished  fifth  from  C?  Df  Ef  Af  Bf 
109.     Describe  the  sixths. 

The   minor  sixth  has    eight  semitones,  and  the  major  sixth    has 
nine. 

Minor  Sixth.  Major  Sixth. 


12    3      4    5 


What  note  is  a  minor  sixth  from  CfDfEofBofA\)fCtf 

What  note  is  a  major  sixth  from  C$f  Dhf  E  f  Ftf  Af  Abf  Bf  Bo  f  CfDf 
Eof 

110.  Describe  the  seventh. 

The  major  seventh  has  eleven  semitones,  and  the  minor  seventh 
has  ten.  It  is  easier,  however,  to  remember  that  the  major  seventh 
is  one  semitone  smaller  than  a  (perfect)  octave,  while  the  minor  seventh 
is  two  semitones  smaller. 

111.  How  can  one  name  and  recognize  the  intervals  f 

a.  If  the  lowest  tone  is  given  and  you  are  asked  to  find  what 
tone  lies  a  given  interval  from  it: — first,  get  the  proper  lett e7'-na.me  for 
the  upper  tone  by  counting  up  on  the  degrees  of  the  staff  according  to 
paragraph  102 ;  second,  ascertain,  by  counting  the  semitones,  whether 
the  upper  tone  should  be  flat,  sharp  or  natural. 

b.  If  two  tones  are  given  to  you,  and  you  are  asked  to  name  the 
interval  that  they  make: — Jif'st,  get  the  number  name  of  the  interval 
by  counting  the  degrees  of  the  staff ;  second,  get  the  adjective  name 
(perfect,  major  or  minor,  augmented  or  diminished)  by  coimting  the 
semitones  and  consulting  paragraphs  102  to  110. 


28  BURROWES'   PIANO  PRIMER. 

112      What  are  double  sharps  and  double  fiats  f 

A  double  sharp  is  the  character  «  or  x :  it  raises  the  note  before 
which  it  is  placed  two  semitones.     Thus  L^    J  1  is  two  tones  higher 

than  G,  and  is  played  on  the  A  key  of  the  piano. 

A  double  flat  is  the  character  bb :  it  lowers  the  note  before  which 

it  is  placed  two  semitones.     Thus  P^'^^~~)  is  two  tones  lower  than 
G,  and  is  played  on  the  F  key  of  the  piano. 

Note.  —  Here  we  may  remark  that  B|  is  played  upon  the  C  key,  and  ¥\)  upon  the  E  key. 

113.  When  are  double  sharps  and  double  flats  used  f 

They  are  necessary  in  naming  many  intervals.  Suppose  the  ques- 
tion to  be,  "What  is  the  major  sixth  from  Ef?"  Now  the  note 
that  is  a  major  sixth  from  E  is  Cj :  and  so,  to  arrive  at  the  major 
sixth  from  Es,  we  must  have  a  C  one  half  tone  higher  than  Cj,  in 
order  to  obtain  the  requisite  number  of  semitones  (nine)  which  form 
the  major  sixth. 

Sixth.    ^^^  _    ^ 

123        4567        89 

The  upper  note  of  this  major  sixth  must  not  be  written  Da 
(though  played  upon  the  same  key),  because,  if  the  interval  were  writ- 
ten Es — D:,  it  would  be  a  seventh. 

What  letter  is  a  major  sixth  from  A  f  At?  By?  Ctf  C?  D?  Di?  Do?  A\h  ? 

(A  prompt  answer  to  these  questions  is  not  expected.  It  is  sufficient 
if  the  pupil  can  work  them  out  on  paper  in  a  reasonable  length  of 
time). 

114.  7s  Fir  {Ih  or  Oy,  or  C«,  e^c,  etc.,)  a  black  key,  or  a  white  key? 

X.  B.  In  the  following  example  the  black  notes  are  used  to  express 
the  black  keys,  and  the  Avhite  notes  the  white  keys.  The  pupil  is  not 
to  see  the  book  while  answering  these  questions. 


-|^^:S^z=g»T=- —     — fejg. 


--==!7i 


:««= 


115.      What  is  meant  by  the  leading-tone  or  leading-note? 


BURROWES"   PIANO  PRIMER. 


29 


The  seventh  sound  of  the  scale  (called  the  leading-tone  or  leading- 
note)  is  always  a  diatonic  semitone  below  the  key-note,  which  is 
called  the  tonic  or  tonic  tone. 

Farther  explained  in  paragraph  123.    See  also  Appendix,  Section  B. 


CHAPTEK   IX. 

THE    KEYS     AND     THEIR    SIGNATURES. 

116.  WJiat  is  the  tonic  tone  {or  key-note)  of  a  piece  of  music  f 

The  first,  or  foundation  note  of  the  scale,  (see  paragraph  121) 
determined  by  the  signature,  or  number  of  sharps  or  flats  placed 
immediately  after  the  clef,  at  the  beginning  of  a  piece  of  music.  (See 
paragraph  57.) 

117.  How  can  we  ascertain  the  tonic  tone  of  any  signature  ? 

They  must  be  learned  by  heart,  from  the  following  table. 


The  Tonic  of 


The  Tonic  of 


The  Tonic 


The  Tonic  of 


The  Tonic  of 


The  Tonic  of 


The  Tonic  of 


The  Tonic  of 


But  there  are  several  ways  of  assisting  the  memory. 

a.  In  the  keys  with  sharps,  the  last  sharp  is  always  the  leading 
tone  (seventh  degree  of  the  scale) ;  hence  the  tone  above  it  will  be  the 
tonic  tone  (eighth  degree). 


30 


BURROWES'   PIANO  PRIMER. 


ft    Q 


cj    D 


Leading!  Tonic. 
Tone.   I 


:3r-j=r- 


L.  T.    Tonic. 


g$    A 


L.  T.    Tonic. 


a«    B 


e»    F5 


^^^       ^^ 


L.  T.    Tonic. 


L.  T.    Tonic. 


dj    E 


L.  T.    Tonic. 


b«    C| 


L.  T.     Tonic. 


Observe  that  each  sharp  has  its  own  particular  place  on  the  staff ;  so  that,  if  you  strike 
out  the  last  sharp  the  remaining  sharps  are  in  the  proper  position  fop  the  key  they  repre- 
sent. 

In  the  keys  with  flats,  the  last  flat  is  always  the  fourth  degree 
of  the  scale ;  hence  the  tone  a  fourth  below  it  will  be  the  tonic  tone 
(eighth  degree). 

bbF  ebBb  ab  lb  dbAb 


^l 


I    I 

Fourth      Tonic. 
Degree. 

gb  Db 


iS^ 


f—^ 


4th  D.        Tonic, 
fb  Cb 


,tefE^-=_^ 


4th  D.       Tonic. 


4th  D.       Tonic. 


4th  D.        Tonic. 


See  note  in  small  type  immediately  above.   It  is  true  of  flats,  as  well  as  sharps. 

^'.     The  tonic   tone  of   any  key  is  always  a  fifth  or  a  fourth  up- 
wards or  downwards  from  the  tonic  tone  of  the  next  key. 


Tonic 
ofC. 

Tonic 
of  G. 

Tonic 
of  D. 

Tonic 
of  A. 

Tonic 
of  E. 

Tonic 
of  B. 

Tonic 

Tonic 
of  C|. 

J^      ^ 

Z^-r.'^- 

^ — 

^=-^ 

_^_giS»    -■ ^ 

;;=i^2 j 

^E^^ 

~:="^=>^=z^ 

Tonic 
of  0. 


Tonic 
of  F. 


Tonic 

of  Kb. 


Tonic 
of  Ab. 


c.     Here  is  the  order  of 

the  sharp  keys  *  :  — C,  G,  D,  A,  E,  B,  Fj,  Cj ; 

and  here  is  tlie  order  of 

the  flat  keys  :—  C,  F,  Bb,  Eb,  Ab,  Db,  Gb,  Cb. 

Obrerve  that  tlie  flat  keys  are  in  the  reverse  order  of  the  sharp  keys,  and  vice  versa. 

Note.  — As  an  aid  to  the  memory  of  younger  pupils  the  following  "  preachy  "  little  lines 
are  of  service. 


Tncluding  the  "  Natural  Key,"  C. 


BURRO  WES'   PIANO   PRIMER. 


31 


To  remember  the  order  of  the  lines  on  the  treble  staff : 

"  Every  Good  Boy  Does  Finely." 

To  remember  the  lines  of  the  bass  stalf  : 

"Gold  Bricks  Deceive  Farmers  Always." 

To  remember  the  spaces  of  the  treble  staff  : 

The  letters  spell  the  word  «  face  "  :  F,  A,  Q  E. 

To  remember  the  spaces  of  the  bass  staff  : 

"All  Children  Eat  Gingerbread." 

The  sharps  in  the  signature  are  added   in  the  following   order: 
F,  C,  G,  D,  A,  E,  B. 

(Observe  the  manner  in  which  the  sharps  are  placed  on  the  stares.    Each  is  a  fourth 
down  or  a  fifth  up  from  the  last.) 


:4th^^ 


The  flats  in  the  signature  are  added  in  the  following  order  :  B,  E, 
A,  D,  G,  C,  F. 

(Observe  that  each  flat  is  a  fourth  up  or  a  fifth  down  from  the  last.) 


A 

I 

^.^4Lh 5th 1, 4l\i^^ 5lh , 4t,h>— P ^5Ui 

J 

118.  How  many  keys  have  the  same  signatures  f 

Two;  every  key  has  its  relative  minor,  written  with  the  same 
signature  as  the  major  key. 

Note. — The  difference  between  the  major  and  minor  keys  will  be  more  fully  explained 
hereafter. 

119.  How  is  the  relative  minor  of  any  key  to  be  found  ? 

Its  tonic  is  always  a  minor  third  below  the  major  tonic  tone ;  that 
is  to  say,  the  minor  tonic  tone  is  always  the  same  as  the  sixth  degree 
of  the  major  scale.  For  example,  the  relative  minor  of  C  is  A  minor  ; 
of  Bb  is  G  minor ;  of  F  is  D  minor ;  of  Eb  is  C  minor ;  of  E  is  Cj 
minor ;  of  A  is  F$  minor,  etc. 


Major  Minor     Major  Minor    Major  Minor      Major  Minor 
Tonic.  Tonic.     Tonic.  Tonic.  Tonic.  Tonic.      Tonic.  Tonic. 


Major  Minor 
Tonic.  Tonic. 


Major  Minor 
Tonic.  Tonic- 


CA  BbG  FD  EbC 

Major.  Minor.  Major.  Minor.  Major.  Minor.    Major.  Minor. 


E        C^  K         Yt 

Major.  Minor.    Major.  Minor. 


32 


BURROWS S'   PIANO  PRIMER. 


120.  How  can  we  decide,  in  simple  music,  whether  a  piece  is  in  the  ordinary 
key  as  indicated  by  the  signature,  or  in  its  relative  minor  f 

a.  By  looking  for  the  leading-note  of  the  relative  minor,  as 
that  will  be  marked  either  by  a  sharp  or  natural ;  for  example,  the 
following  passage   is  probably  in  the  key  of  A  minor : 


out  if  the  G  were  not  sharped,  it  would  probably  be  in  C  major. 
The  following  passage  is  probably  in  E  minor : 


'^^m^ 


but  if  the  D  were  not  sharped,  it  would  probably  be  in  G  major. 
The  following  passage  is  probably  in  C  minor  : 

rh    >.    ^    C    •■- 


but  if   the   B  were   Bb,   instead   of  Bb,  it  would   probably  be  in  Eb 
major. 

The  pupil  should  now  study  Section  B  of  the  Appendix,  writing  the  signatures,  with  alJ 
necessary  assistance  from  the  teacher. 


CHAPTER   X. 

THE    SCALES    (mAJOR    AND    MIXOr),    AXD    THE    TETRACHORDS. 

121.     What  do  you  understand  by  the  term,  the  scale  ? 

A  succession  of  eight  sounds,  proceeding  by  certain  fixed  intervals, 
thus  :  from  the  tonic  to  the  second  sound,  a  tone  (see  paragraph  105) ; 
from  the  second  to  the  third  sound,  a  tone  ;  from  the  third  to  the 
fourth  sound,  a  semitone ;  from  the  fourth  to  the  fifth  sound,  a  tone  ; 
from  the  fifth  to  the  sixth  sound,  a  tone ;  from  the  sixth  to  the 
seventh  sound,  a  tone  ;  and  from  the  seventh  (or  leading  note)  to  the 
eighth  (or  octave)  a  semitone.  The  semitones  (always  minor  secords) 
occur  between  the  third  and  fourth,  and  the  seventh  and  eighth  sounds 
of  the  scale.     In  the  following  scales  the  slurs  show  the  semitones  : 


Tonic. 


Leading-note. 


Key  of  C. 


BURROW ES'    PIANO   PRIMER. 


33 


Tonic. 


Leading-note. 


Key  of  G. 


Key  of  F. 


Key  of  D. 


Key  of  Bb. 


IN 


Tonic. 


6         7       8 
Leading-note. 


r= 


Tonic. 


6        7       8 
Leading-note. 


1        2 
Tonic. 


6         7         8 
Leading-note. 


123456  78 

Name  the  letters  and  play  them  on  the  keys  of  the  piano,  in  the  keys  (or  tonics)  of  the 
following  scales  ;  of  the  scale  of  A  ;  of  Eb ;  of  E ;  of  Ab  ;  of  B  ;  of  Db ;  of  Ft) ;  of  Gb. 

122.     What  is  a  tetrachord  f 

A  tetrachord    consists   of  four  sounds  placed   at   the  following 
intervals : 

Between  the  first  and  second  sound,  a  tone ; 
Between  the  second  and  third  sound,  a  tone  ; 
Between  the  third  and  fourth  sound,  a  semitone. 

Tetrachord.  Tetrachord.  Tetrachord.  Tetrachord. 


Se 


-g? — <^- 


^sz^^z 


The  diatonic  major  scales  are  each  formed  of  two  tetrachords. 


$ 


Moreover,  the  upper  tetrachord  of  any  scale  is  composed  of  the 
same  notes  as  the  lower  tetrachord  of  the  next  sharp  key,  as  follows : 


And  the  lower  tetrachord  of  any  scale  is  composed  of  the  same 
notes  as  the  upper  tetrachord  of  the  next  flat  key,  as  follows : 


34 


BURR  OWES'   PIANO  PRIMER. 


The  pupil  shotild  now  be  exercised  in  naming  the  tetrachords,  ascending  and  descend- 
ing, observing  that  the  interval  between  the  highest  two  tones  is  always  a  minor  second. 

123.  What  are  the  harmonic  names  of  the  sounds  of  the  scale  f 

The  key-note  of  the  scale  is  called  the  tonic,  the  second  sound  the 
super-tonic,  the  third  sound  the  mediant,  the  fourth  sound  the  sub- 
dominant,  the  fifth  sound  the  domina7it,  the  sixth  sound  the  sub- 
mediant,  and  the  seventh  sound  the  leading-tone. 

See  paragraphs  115,  117  and  120. 

What  is  the  leading  note  in  the  key  of  C ;  of  G  ;  of  D;  of  A  ;  of  E  ;  of  B;  of 
Ft;  ofCt;  ofF;  Ih ;  Ej ;  Ab  ;  Do;  Gb ;  Co  ? 

Name  the  supertonics  of  the  above  keys. 

Name  the  mediants  of  the  above  keys. 

Name  and  play  the  dominants  and  siib-dominants  of  all  the  above  keys. 

124.  What  are  the  sounds  of  the  minor  scale,  and  how  formed  ? 
(See  paragraphs  118  and  119.) 

Starting  from  the  sub-mediant  of  the  major  scale,  we  ascend  by 
the  same  letters ;  excepting,  that  when  we  come  to  the  seventh  sound 
(the  fifth  sound  in  the  major  scale)  we  add  to  it  a  sharp  or  natural. 
(See  Section  F,  of  the  Appendix.) 

For  example  :  (1.  t.  stands  for  leading-tone.) 

Scale  of  C  Major. 
2  3  4  5  6  7  8 


i 


1. 1. 


Scale  of  A  Minor. 


1.  t. 


1 

Scale  of  Et?  Major.    1. 1. 
2        3        4        5        6      7        8 

~f'  \Pc- " 

,-= — j=^<S — '^ 

,^      ^        .          .-         . 

«/ 

^f-^zz 


25=fe; 


Scale  of  C  Minor. 


1.  t. 


,  BURRO  WES'    PIANO  PRIMER. 


35 


Scale  of  A  Major. 
3       4       5       6       7 


Scale  of  F|  Minor. 


Observe  from  the  above  minor  scales,  that  the  interval  between  the  sixth  and  seventh 
degrees  of  the  minor  scales  contains  ihre".  semitones.  This  interval  is  called  the  augmented 
second  (sometimes  the  sharp  second). 

Write  out  and  play  the  scaler  of  the  following  minor  keys  :  of  D  minor ;  of  B 
minor ;  of  Bo  minor ;  of  E  minor ;  of  F  minor. 

126.     What  is  the  melodic  minor  scale  f 

A  minor  scale  in  which,  in  ascending,  both  the  sixth  and  seventh 
degrees  are  raised  a  half-step  ;  while  in  descending,  these  two  degrees 
are  not  raised  but  remain  as  in  the  relative  major  scale. 


f 


^ 


^=X 


E&l^-r-rT^^ 


126.     What  is  the  passage  named  the  chromatic  scale  ? 
A  succession  of  semitones,  thus  : 


$ 


i=t 


^=^3^=^^-*^ 


q=:j= 


:3^ 


t*- 


4=d3^ 


:i^- 


izfet 


5S=^^^ 


127.  In  writing  the  chromatic  scale,  does  it  matter  whether  you  take  Ct  or 
Db,  Fior  Gb,  At  or  Bo  f 

It  is  of  great  importance,  since  the  signature  must  be  taken  into 
account ;  thus  :  it  would  be  highly  improper  to  write  the  foregoing  ex- 
ample in  the  following  manner  : 

(Consult  paragraphs  112  and  128.) 


because  first,  the  number  of  accidentals  is  needlessly  and  confusingly 
increased,  rendering  the  passage  almost  incomprehensible  ;  and  second, 
the  customary  and  correct  method  of  notation  is  violated. 

Correct. 


36  BURRO  WES'   PIANO  PRIMER. 

Sharps  or  naturals  must  be  used  in  ascending,  and  fiats  or  naturals 
in  descending.  (This  necessitates  the  use  of  double  sharps  or  double 
flats  in  the  many-sharped  and  many-flatted  keys.  See  paragraphs  112, 
113.) 

Write  the  chromatic  scale  in  the  keys  of  E,  Ab,  F,  F  J,  D,  Db. 

Note.  —  Of  late  years  It  has  been  thought  better  to  make  an  exception  in  the  case  of  the 
leading-note  in  ascending,  and  the  fourth  sound  of  the  scale  in  descending,  thus, 


$ 


^-,hiJ=^^^^E^E 


-^-W^ *~t* • ^^' " ^-y 


N.  B. 


1^ 


^^3^Se 


— I 1 1 1 — 


N.  B. 

In  order  to  draw  attention  to  the  subject  of  fingering,  it  is  now 
recommended  that  the  pupil  should  write  and  finger  all  the  scales, 
commencing  with  the  scale  of  C,  and  going  on  progressively  as  far 
as  the  scale  of  C$,  and  the  scale  of  Cb,  ascending  and  descending  two 
octaves  both  for  the  right  hand  and  the  left.  These  should  be  written 
upon  loose  sheets  of  music  paper  or  a  slate,  fingered,  and,  when 
corrected  by  the  master,  copied  into  a  book  for  daily  practice.  The 
major  scales  should  be  written  on  the  left  hand  page  of  the  book,  and 
their  relative  minors  on  the  opposite  page.*  The  proper  sharps  or 
flats  belonging  to  each  scale  should  be  placed  as  the  signature  at  the 
beginning,  and  not  as  they  occur  in  the  scale,  excepting  of  course  the 
sevenths  of  the  minor  scales,  which  require  raising  by  accidentals. 
(See  Appendix,  Section  G.) 

In  fingering  the  scales,  the  following  remarks  may  be  found 
useful : 

The  fingering  is  only  to  be  marked  upon  the  first  note  of  the  scale, 
and  where  the  thumb  is  to  be  passed  under  the  fingers,  or  the  fingers 
over  the  thumb. 

In  playing  the  ascending  scale  of  two  octaves. 

For  the  rir/ht  ha7id,  ascending,  play  the  first  note  with  the 
thumb,  the  second  note  with  the  forefinger,  and  the  third  note  with  the 
middle  finger  ;  pass  the  thumb  under  the  fingers  to  play  the  fourth 
note ;  play  the  fifth  note  with  the  forefinger,  the  sixth  with  the 
middle  finger,  and  the  seventh  with  the  ring  finger ;  pass  the  thumb 
under  again  for  the  eighth  note ;  continue  as  before  through  the  second 
octave,  ending  with  the  little  finger  on  the  last  note. 

For  the  right  hand,  descending,  play  the  first  note  with  the 
little  finger,  tlie  second  with  the  ring  finger,  the  third  with  the  middle 
finger,  the  fourth  with  the  forefinger,  and  the  fifth  with  the  thumb ; 
pass  the  middle  finger  over  the  thumb  to   play  the    sixth   note  ;  play 

•  The  harmonic  minor  scales  only  at  this  point. 


BURROWES"   PIANO  PRIMER.  37 

the  seventh  note  with  the  forefinger,  and  the  eighth  note  with  the 
thumb.  Then  put  the  ring  finger  over  the  thumb,  and  continue  as 
before  through  the  second  octave,  ending  with  the  thumb  on  the  last 
note. 

Move  the  hand  as  little  as  possible  in  passing  the  thumb  under  or 
the  middle  finger  over. 

For  the  left  hand  the  fingering  is  reversed,  the  middle  or  ring 
finger  being  passed  over  in  ascending,  and  the  thumb  put  under  in 
descending.     Practice  one  hand  at  a  time ;  later  combine  the  two. 

When  the  scale  commences  with  a  black  key,  in  playing  with  the 
right  hand  begin  with  the  first  finger,  and  follow  the  foregoing  rule  as 
closely  as  the  situation  of  the  black  keys  will  admit,  observing  that 
neither  the  thumb  nor  the  fifth  finger  must  be  placed  upon  a  black 
key  in  fingering  a  scale. 

The  situation  of  the  black  keys  will  render  it  necessary,  in 
playing  with  the  left  hand,  to  commence  in  some  scales  with  the 
fourth,  third  or  second  finger,  instead  of  the  fifth ;  but  the  foregoing 
rule  is  to  be  followed  as  closely  as  circumstances  will  permit.  (See 
Appendix,  Section  G,  where  the  fingering  is  marked  for  all  the  keys.) 

No  scale  should  be  practised  until  the  teacher  has  made  sure  that 
the  fingering  is  correct. 

Nothing  can  be  more  generally  useful  than  the  daily  practice  of  the 
scales ;  at  the  same  time  the  greatest  attention  is  requisite  on  the  part 
of  the  pupil  to  the  position  and  steadiness  of  the  hand,  as  well  as  to 
the  clearness  and  connection  of  the  notes.     (See  Chapter  IV.) 

An  important  rule  of  fingering  is,  that  in  scales  comprising  many 
black  keys,  the  right  hand  ring  finger  should  go  on  Bb  (or  Aif),  and 
the  middle  finger  on  Eb  (or  Dj) ;  and  conversely  with  the  left  hand. 


CHAPTER   XI. 

VARIOUS    CHARACTERS    USED    IN"    MUSIC. 

128.     After  a  double  fiat  or  sharp,  how  is  the  single  flat  or  sharp  restored  f 

By  means  of  a  natural  and  single  flat,  or  natural  and  single  sharp. 
In  recent  years  the  naturals  are  often  omitted,  as  they  are  not  neces- 
sary for  clarity. 

The  following  — 


-r      I        — 


38 


BURBOWES'   PIANO  PBIMEB. 


would  be  played  on  the  same  keys  of  the  piano  as  if  written  thus : 

.A.  -B 


m 


^ 


=?= 


^ 


f 


it 


=iit 


129.  As  according  to  paragraph  26,  a  dot  after  a  note  or  rest  adds  to  it  one  half 
of  its  original  time  value,  what  is  the  meaning  of  two  dots  ? 

The  second  dot  adds  one  half  the  value  of  the  first  dot ;  conse- 
quently, a  half-note  or  half-rest  twice  dotted  equals  the  value  of  a 
half-note  (or  rest)  with  the  value  of  a  quarter  for  the  first  dot,  and  an 
eighth  for  the  second  dot.     Thus: 


equals 
equals 
equals 


i 


f 


f 


Note.  — Dots  and  donble  dots  have  much  the  same  effect  as  ties.    The  following  pas- 
sages are  of  identical  effect. 


equals 


ipljlH 


Eh=t 


F=g= 

-0.       *      ^ 

=^ 

H      '-^          1 

bgiz 

'^ 

r      •  ^ 

equals    p 


The  custom,  formerly  prevailing,  of  dotting  the  last  note  in  a  measure  by  a  dot  in  the 
next  measure  (the  otlier  or  right  hand  side  of  the  bar)  is  now  rarely  employed. 


Formerly  Written. 


^Modern  Method. 


^m^m 


130.     Are  an>/  (jther  notes  or  rests  other  than  those  given  in  paragraphs  21^  22, 
and  £3,  ever  used  / 


;-:4S2t 


=^°'^i 


m- 


"We  occasionally  find  the  dou- 
ble note  with  its  corresponding  rest, 
equal  to  two  whole  notes  or  rests :  but  it  is  very  rare  in  piano  music. 

We  frequently  find  in  modern  piano  music  the  half-thirty-second, 

or  sixtv-fourth-note, 


with  its  corresponding  rest. 


M 


BURRO  WES'   PIANO   PRIMER. 


39 


181.     How  is  an  entire  measure  of  rest  marked  f 

Always  by  a  whole-rest;  whatever  may  be  the  value  of  the  measure. 


1^^ 


3aEs= 


P 


^^ 


E^fe^ 


m 


^^W~-~r 


i£3=3zir5: 


:I2: 


A=t:i 


^^^fe^^^S 


^^^^^ 


132.     ffow  do  we  indicate  a  rest  for  several  measures  f 

2 

For  two  measures  rest,  thus,  pi 


jj      for  six. 


■^1= 


for   four  measures  rest 


and,    when   the   number  of   meas- 


ures to  be  counted  in  silence  is  considerable,  with  two  broad  dashes 
diagonally  across  the  staff,  with  the  figures  indicating  the  number 
of  measures. 

15  26  97 


r^EE- 


133.  Hoio  do  we  count  several  measures  rest  ? 

By  naming  the  number  of  the  measure  instead  of  the  word  one,  on 
the  first  beat  of  each  measure,  thus :  "  0?ie,  two,  three,  four ;  tivo, 
two,  three,  four ;  three,  two,  three,  four ;  four,  two,  three,  four,"  etc. ; 
or,  "one,  two,  three;  two,  two,  three;  tJiree,  two,  three;  foiir,  two, 
three,"  etc. 

134.  Is  there  any  other  clef  beside  the  G  clef  and  F  clef  already  mentioned  in 
paragraph  7 1 

Not  in  piano  music  ;  but  in  old  vocal  and  modern  orchestral  music 
there  is  also  the  C  clef,  standing  always  for  the  middle  C  of  the  key- 
board. This  clef  may  be  placed  on  either  the  first,  third,  or  fourth 
line  of  the  staff  (latterly  even  on  the  third  space,  reading  just  an 
octave  lower  than  the  treble  staff).    These  old  clefs  were  used  in  order 


40 


BURROWES'   PIANO  PRIMER. 


to  have  the  middle  of  the  voice  correspond  with  the  middle  of  the  staff, 
thus  avoidin<r  the  use  of  many  leger  lines.  According  to  the  position 
of  the  clef  it  is  called  the  soprano,  alto,  or  tenor  clef. 


Soprano  Clef. 


Alto  Clef. 


Modern  Teuor  Clef. 


w-^ 

D 

E       F 

G 

— .&- 

A 

B       C 

-M-^ 

=> 





c 

D 

E       F 

G 

A 

B       C 

c 

D 

E       F 

G 

1=3 

A 

B       C 

^     ^ 

-  ^ — ^- 





^% 



D        E       F      G 


The  above  examples  all  begin  at  middle  C,  and,  consequently,  should 
all  be  played  on  the  same  piano  keys. 

135.     Sometimes  we  find  the  figure  6  placed  over  a  group  of  six  eighth-notes,  or 
six  sixteenth-notes.     What  does  that  signify  ? 

That  the  six  eighth-notes  are  to  be  played  in  the  time  of  one  half- 
note,  which  ordinarily  would  only  have  four  eighth-notes. 


m 


m 


136.     What  is  the  meaning  of  the  word  enharmonic  ? 

A  note,  interval  or  chord  having  the  same  sound  on  the  piano  as 
another  note,  interval  or  chord  is  called  the  enharmonic  equivalent  of 
the  other ;  in  other  words,  the  two  tones,  intervals  or  chords  are  en- 
harmonic equivalents. 

When  notes  or  chords  change  their  names  without  changing  their 
sound,  the  change  is  called  an  enharmonic  change. 


Enharmonic  Change. 


BURBOWES'   PIANO  PBIMER.  41 


CHAPTER  XII. 

COMMON    TERMS    IN    USE    TO    SPECIFY    THE    DEGREE    OF    RAPIDITY    OF 
MOVEMENT,    AND    THE    GENERAL    STYLE    OF    PERFORMANCE, 

137.  Ilow  is  the  time  {fast  or  slow)  of  a  piece  indicated;  in  other  words,  how 
do  we  know  whether  we  should  count  fast,  very  fast,  slow,  or  very  slow,  or  moderately 
fast  or  slow  f 

By  certain  Italian  words  placed  at  the  beginning. 

Note.  — These  words,  given  below,  have  a  certain  conventional  and  nearly  deflnite  mean- 
ing, sanctioned  by  long  usage,  and  common  to  music  written  by  composers  of  all  nations  ;  and 
they  are  the  best  for  the  purpose,  although  German,  French  and  English  words  are  frequently 
employed. 

The  proper  pronunciation  is  given  after  each  word.  For  the  significance  of  the  syllables 
used,  see  Appendix,  Section  M,  page  78  or  79,  top  of  page. 

138.  Give  the  principal  Italian  words  used  to  indicate  the  degree  of  rapidity 
with  which  apiece  of  music  should  be  played. 

Grdve  (grrd-vg),  very  slow,  about  50  beats  to  the  minute. 

Adagio  (ii-dd-gyo),  slow,  from  68  to  64  beats. 

Ldrgo  (Idr-go),  iudefinite,  from  54  to  66  beats. 

LarghAtto  (liir-gre^to),  indefinite,  from  60  to  70  beats. 

Anddnte  (au-dan-te),  rather  slow,  and  legato,  70  to  92  beats. 

Andantino  (an-dau-ie-no),  rather  faster  than  andante,  but  in  a  similarly  connected 

style,  from  74  to  96  beats. 
Moderdto  (mo-dg-ra-to),  from  92  to  108  beats  in  a  minute. 
AllegrMto  (al-la-grre^-to),  rather  fast,  from  96  to  112  beats. 
AlUgro  (al-te-gro),  decidedly  fast,  from  112  to  160  beats. 
Presto  (pres-tQ),  very  fast,  from  160  to  180  beats. 
Prestissimo  (prgs-to-se-mo),  as  fast  as  possible,  from  180  to  218  beats. 

Note.  —  There  are  many  words  used  to  intensify  or  modify  the  meaning  of  the  foregoing 
principles  ;  the  most  usual  are  the  following : 

A.  Assai  (as-sa-e),  meaning  very;  as  adagio  assai,  very  slow,  almost  the  same 

as  grave. 
Moderato  Assai,  very  moderately,  almost  larghetto. 
AlUgro  Assai,  very  fast,  almost  presto. 

B.  Mdlto  (mol-to),  also  meaning  very,  but  usually  applied  a  little  differently,  as 

thus  : 
Crescendo  Mdlto,  a  rapid  increase  in  force  to  its  utmost  possibility. 
Mdlto  Diminuendo,  a  rapid  diminishing  of  force  to  the  softest  possible  degree. 
We  however  occasionally  find  the  following  : 
Mdlto  AlUgro,  exactly  the  same  as  allegro  assai. 
Molto  Adagio,  the  same  as  adagio  assai. 

C.  Meno  (ma-no),  means  less,  for  example  : 

M4no  Allegro  (sometimes  meno  mosso)  less  quickly,  that  is,  a  little  slower. 
Meno  Addgio,  less  slow,  that  is,  a  little  faster. 

D.  Pill  (pe-oo),  means  more,  as  : 

Piu  AlUgro  (sometimes  piw  mosso);  considerably  faster. 
PiU  Addgio,  considerably  slower. 


42  BURROWES'   PIANO  PRIMER. 

E.     Pdco,  means  a  little,  somewhat,  as  : 

P6co  adagio,  rather  slow,  almost  equivalent  to  andante. 

Pdco  crescendo,  a  slight  crescendo  ;   in   fact,  poco  is  the  opposite  of  molto. 
(See  G  below.) 
P.     Troppo  (trdp-po),  literally  too  much;  it  is  always  joined  with  the  negative 
nan:  as, 
Addgio  non  trdppo,  slow,  but  not  too  slow. 
Allegro  non  trdppo,  fast,  but  not  extremely  fast. 
G.     Pdco  {pd-ko)  is  frequently  used  with  m6no  and  piu,  to  modify  their  significa- 
tion, thus  : 
P6co  piu  presto,  a  little  faster. 

Pbco  mend,  (elliptical,  mosso  being  understood),  a  little  slower. 
I.     Mosso  (mds-so),  literally,  movement,  or  degree  of  rapidity;  as, 

Andante  Mdsso,  quicker  than  andante.     (Observe  C  and  D  above.) 
Molto  piu  AIusso,  very  much  faster. 
K.      Quasi  (qua-se),  literally,  as  if,  almost,  as, 

Andantino  qudsi  allegretto,  in   a  similar  style  with  andantino,  but  a  little 
faster  ;  almost  allegrMo. 

139.     Give  the  principal  Italian  words  used  to  indicate  the  style  and  expression 
of  a  piece  of  music. 

Affetuoso  (M-iet-tu-u-z6),   )      Tenderly  and   dreamily,   constantly  retarding  the 


Affetuoso  {HMet-tn-d-zo),  ^  Tenderly  and  dreamily,  cons 
Amoroso  (ix-mo-rd-zo),  J  ^j^^^^  ^^  ^^^e  close  of  each  phrase. 
Con  affetto  (kou  at-f et-to),   ) 


Agitato,  with  passion  and  intensity  ;  constantly  hurrying  the  time  at  the  begin- 
ning of  each  phrase;  the  difference  between  the  loud  and  soft  passages  also  to  be 
very  marked. 

Tranquillo  (tran-gueWo),  the  opposite  of  agitato;  gently,  calmly,  but  firmly; 
without  perceptible  change  of  time,  or  very  marked  crescendo  or  diminuendo. 

Cantdbile  (kan-^a-be-16),  in  a  smooth,  connected  manner,  but  more  intense  than 
Affetuoso. 

C6n  brio  (k6n-6re-o),  )      With  great  animation  and  energy  :  a  perfectly 

Vivace  (ve-^ja-tshe),  )  steady  time,  and  strong  accent. 

Pastorale  (pa-st5-ra-le),  j      In  a  gentle,  placid  style  ;  without  ornament,  or 

Semplice  (sam-jpZe-tshe),  f  variation  of  time.    Nearly  equivalent  to  tranquillo. 

Scherzdndo  (skair-tean-do),     i      Playfully.     With  marked  accent  combined  with 
Lusingdndo  (loo-sin-firan-do),    (  capricious  variations  of  the  time,  not  carried  so  far 

as  in  agitato. 

Note.  —  All  these  words  are  usually  taken  in  combination  witli  tlie  word  indicating  the 
rapidity  of  time  ;  for  instance, 

Allegro  Vicdce ;  AlUiiro con  Brio  :  Allef/ro  Acjitdto  ;  Allegritto  Scherzdndo ;  Allegretto  Amordso  ; 
And dnte  Affetuoso ;  Anddnte  Tranqidllo ;  AnddntePastordle;  Allegro  VivdceAssdi;  Allegro  con 
Molto  Brio. 

Maestoso  (ma-es-id-so),  literally,  with  dignity  ;  by  itself  alone,  it  indicates  a 
very  distinct  and  rather  slow  degree  of  time,  with  a  marked  accent.  In  combina- 
tion with  other  wortls  it  denotes  not  only  a  considerably  slower  movement  but  a 
certain  inaje.stic  effect,  impossible  to  be  described,  and  only  to  be  acquired  by  hear- 
ing exiiuiplos  from  good  jilayers.  The  most  usual  combinations  of  this  word  are 
Andante  Maestoso  and  Allegro  Maestoso. 

140.    What  is  meant  by  syncopation?  {see  paragraph  o^.) 

Synnopiition  is  said  to  occur  whenever  an  unaccented  note  is  tied 
(paraiifraph  49)  to  a  succeeding  accented  note ;  in  such  cases,  the  accent 
is  tlirown  back  on  to  the  first  note,  but  without  affecting  the  value  of 
the  notes ;  it  is  the  same  whenever  the  two  notes  are  united  as  one. 


BURROWES'   PIANO  PRIMER. 


43 


the  same  effect  is  generally  written  as  follows 

B.  -=.  ^  ^  ^  =.  ■ 


P 


^^^3^ 


^^ 


Kemark. — It  is  not  to  be  supposed  that  the  foregoing  pages  contain  everything  necessary 
for  a  pupil  to  know  ;  many  things  have  been  intentionally  omitted,  as  it  frequently  happens 
that  in  attempting  to  teach  too  much,  we  entirely  fail  of  obtaining  our  object. 

It  is  hoped  that  those  pupils  who  have  thoroughly  mastered  the  foregoing  precepts,  will  be 
able  to  practise  and  study  intelligently  whatever  pieces  may  be  assigned  to  them  by  their 
instructors. 


APPENDIX. 


SECTION"   A. 


A    TABLE    OF    SIMPLE    TURNS. 


A    is 

made 

witl 

i*B  ( 

B    " 

a 

(I 

C( 

C     « 

<( 

a 

D( 

D    " 

« 

ii 

E( 

E    « 

a 

(( 

F( 

-p     u 

<( 

u 

G( 

G   « 

a 

i< 

A( 

A«  " 

(( 

IC 

B   ( 

BJ  " 

(I 

it 

C«( 

C«  « 

(C 

(I 

^  ( 

Jn  " 

a 

(I 

E  ( 

E«  " 

a 

IC 

Fjf  ( 

E$" 

i( 

(I 

G   ( 

G«" 

a 

u 

A   ( 

Ab" 

u 

<e 

Bb( 

Bb" 

a 

(( 

c  ( 

Cb" 

i( 

i( 

Db( 

Db" 

li 

a 

E^( 

Eb  " 

ti 

<( 

F   ( 

Eb  « 

a 

(I 

Gb( 

Gb« 

ic 

u 

*Ab( 

or  Bb),  A,  G5,  A. 
•'  CJt  ),  B,  A«,  B. 
'<  Db  ),  C,  B,  C. 
"  Eb  ),  D,  C«,  D. 
«  Fit  ),  E,  D«,  E. 
"  Gb  ),  F,  E,  F. 
''  Ab  ),  G,  F«,  G. 

"  B«  ),  At,  G«,  A«. 
"  C«  ),  B$,  A«,  Bl 
«  D«  ),  C5,  B$,  C«. 
"  E«  ),  Dj,  C*,  D$. 

«  F«  ),  EJ,  D«,  E«. 
"  G«  ),  Fit,  EJ,  F«. 
"  Alt  ),  G«,  F«,  GJ. 

"  Bbb  ),  Ab,  G,  Ab. 
"  Cb  ),  Bb,  A,  Bb. 
"  Dbb  ),  Cb,  Bb,  Cb. 
«  Ebb  ),  Db,  C,  Db. 
«  Yh  ),  Eb,  D,  Eb. 
"  Gbb  ),  Yh,  Eb,  Fb. 
"  Abb  ),  Gb,  F,  Gb. 


*  This  column  gives  two  possible  notes  for  each  turn:  the  signature  will  determine  whicb 
one  of  the  two  is  to  be  used. 

46. 


46  BURROWES'   PIANO  PBlMEli 


SECTION  B. 

A    TABLE    OF    RELATIVE    MAJOR    AND    MINOR    KEYS. 

The  relative  minor  of  C   major  is  A   minor :  Leading  Tone  Gi. 

II           it  135 

"  Al. 

"           "  E«. 

"           "  Bl 

"           "  Fje. 

"           "  C«. 

"           "  G«. 

"           "  Ci 

"           "  Fj. 

"           "  Bi 

"           «  Afl. 

"           "  Dr. 

"           "  Gc. 

When  the  pupil  is  thoroughly  acquainted  with  the  foregoing  table, 
the  question  should  be  reversed,  thus : 

What  is  the  relative  major  of  A  minor,  etc.,  etc.? 

Or,  in  other  words, 

Of  what  is  A  minor  the  relative  ? 


"  G 

« 

ii  E 

«  D 

(( 

«  B 

"  A 

ii 

a   Y$ 

"  E 

ii 

"  c« 

«  B 

ii 

"  Gt 

u  F« 

u 

"  D$ 

"  C$ 

ii 

"  At 

ii  -p 

ii 

"  D 

"  Bt> 

ii 

"  G 

«  Eb 

ii 

"  C 

'•   Ab 

ii 

<.  F 

"  Db 

ii 

"  Bb 

'•   Gb 

ii 

"  Eb 

'.'   Cb 

ii 

"  Ab 

APPENDIX.  47 


SECTION  C. 

A  TABLE    OF    DIATONIC    SEMITONES. 

A  diatonic  I    a    •    t>l  -A.  diatonic      1    a    ■    n 
semitone  above  )         ^        *         semitone  below  )         ^^  '^ 

"             «  B    "  C.  <'  "  B   "  At. 

"             "  C    "  Dk  "  «  C    "  B. 

«             "  D  "  Eb.  <'  «  D  "  Cl. 

"             "  E   "  F.  «  «  E   "  Dl. 

«             (I  Y   "  Grb.  "  "  F    "  E. 

"            "  G  "  Ab.  «  "  G   «  Fjf. 

"            "  A« "  B.  "  "  M "  G». 

"            "  Bj "  C«.  "  "  B«  "  A«. 

"            "  Cjj  «  D.  "  "  C«  "  Bi 

a             u  Dj  a  E.  <•  "  JH  "  Ck. 

"             "  E«  "  Fjf.  "  '<  E«  «  D». 

"             "  F«  "  G.  «  "  Fj  "  Ef. 

"             "  G«  "  A.  "  "  Gj  «  F«. 

"             "  •      Ab "  Bbb.  "  "  Ab  "  G. 

"             <<  Bb  "  Of.     .  «  "  Bb  "  A. 

"             "  C    "  Bb.  "  "  Cb  "   Bb. 

'^             "  Db "  Ebb.  "  "  Db  «  C. 

"             "  Eb  <«  Fb.  "  "  Eb  "  D. 

"             "  T>  «  Gbb.  ''  «  Fb  '<  Eb. 

"             "  Gb  "  Abb.  f-  «  Gb  "  F. 


48 


BUBROWES'   PIANO  PRIMER. 


)^ 


CO 


0* 


1  I 

4iW 


^1 


i± 


I5N 


4^ 


4«t 


SJ  t 


^1 


9^l 


15^ 


_11^. 


sqijij 


^ 
g 


w 


O 


5   cq 


1^ 


O 


Fr 


H 


«>     Q 


J2^ 


^5 


P^ 


O 


0   pq 


1^ 


■sp-iniX 


APPENDIX. 


49 


SECTION  E. 


THE  ORDER  OF  THE  KEYS  WITH  SHARPS. 


Scale  of  G. 


Scale  of  A. 


m 


di^ 


-p^ 


^t=c 


Scale  of  C. 
Scale  of  A  (cont'd.) 


Scale  of  D. 
Scale  of  B. 


Scale  of  FJ  (cont'd). 


Scale  of  GJ. 


N.  B.  This  method  of  making  scales  might  be  pursued  further,  when  it  would  be  found 
that  F  becomes  the  first  double  sharp,  and  that  the  succeeding  double  sharps  occur  in  the  same 
order  as  the  single  sharps.  We  should  finally  arrive  at  the  key  B$,  which  is  the  same  key 
(enharmonically)  as  C. 

THE    ORDER    OF    THE    KEYS    WITH    FLATS. 
Scale  of  C.  Scale  of  B(7. 


J=L          .^ 

IS 

I7.i=.         ^s- 

frs 

->^ 

..V'V 

rn 

" 

Scale  of  F. 


Scale  of  Ab. 


Scale  of  Eb. 
Scale  of  Go. 


Scale  of  Eb  (cont'd.) 
Scale  of  Gb  (cont'd). 


Scale  of  Db. 
Scale  of  ^. 


Scale  of  Cb. 


N.  B.  This  method  of  making  scales  might  be  pursued  further,  when  it  would  be  found 
that  B  becomes  the  first  double  flat,  and  that  the  succeeding  double  flats  occur  in  the  same  or- 
der as  the  single  flats.  We  should  finally  arrive  at  the  key  Bbb,  which  is  the  same  key  (enhar- 
monically) as  A. 


50 


BURROW ES'   PIANO  PRIMER. 


i 


SECTION  F. 

THE    HARMONIC    MINOR    SCALES. 
A  minor,  relative  of  C  major.  .  '      \ 


rf     *~ 


E  minor,  relative  of  G  major. 


-fS ^ ^U *—^-^ .^=-5- 

[ 1 

-^ _ — ^ , ^  ^ *__ 

t-—    »— H 

B  minor,  relative  of  D  major. 


_t*^ 


1 


FS  minor,  relative  of  A  major.  


!s^ 


C$  minor,  relative  of  E  major. 


m= 


^3fi^^=.'E^EE^ 


GJ  minor,  relative  of  B  major. 


■-«» «— r-« «»■• 


DJ  minor,  relative  of  FJf  major. 


E^Sfe 


1 


AJ  minor,  relative  of  Cjf  major. 

^Ji'elf- ^'^ r— r-»- •■— *« 


-g^T-a.- 


mk 


=«==^ 


B  minor,  relative  of  F  major. 


11^=^:. 


G  minor,  relative  of  B!?  majoi\ 


g^^^E 


X.  B.    Tlie  slurs  mark  the  half-steps  or  minor  seconds. 


APPENDIX. 


51 


C  minor,  relative  of  Eb  major. 


i^ 


F  minor,  relative  of  Ab  major. 


->—!}»- 


=t;«: 


Bb  minor,  relative  of  Db  major. 


I 


2p=S=ic 


B^-     ^  ^-   &^      i     ^ 


^^fe^ 


Eb  minor,  relative  of  Gb  major. 


g^ 


^S*=^«=P'=gi 


Ab  minor,  relative  of  Cb  major. 


y^P^=^ 


^      -^ 


62 


BUEROWi:S'   PIANO  PRIMER. 


SECTION   G. 


C  major. 


THE    MAJOR    AND    MINOR    SCALES. 


A  minor  (melodic).  1  .^-&ii:^:^'i:^tt«_.»- ^    s 

Pffr -I—  -, Fta^ — r^ — f-^ 1 1 1 — »P-   F  ^  ^  _  :    4- 


ff^^  -  :ll    f=R 


A  minor  (harmonic) 


E  minor  (meloilic) 


l_.--j|Li?,^^ 


-^-  -*-  -»■  A__  1 


■ti*:i:ir 


^._^.t-^^-S:^^^-1^-.i 


APPENDIX. 


63 


D  major, 


B  minor  (melodic). 


4  \}    -■4'  *  I    *  L^^iJ        ^1/ 


B  minor  (harmonic) 


i^^^^^^^P^ig 


A  major 


:xf  i=:3=:  ifbtfL". 


1     -  ^.J»-:!^     ^=.jz::m:3z:  ipzip::^ 


m^m 


m-- 


^ 


^^^^ 


tJ      3 


^i^l^^^t 


F  sharp  minor  (melodic).       ^  S  «|-*- ■'"f^^  rri    ' 


4-^*i-=fcL 


gg^ 


E^?f«Sf 


!^ 


F  sharp  minor  (harmonic). 


^i*^ 


^^^^^^^^b:^^i^ 


64 


BURROWES'   PIANO  PRIMER. 


E  major. 


B  major. 

(identical  with  C  flat  major). 


±^S^ 


J-*ztj 


=F^^ 


itt^-p-^ 


-(•  »     [J-j— I— II    I    I   ,-^^ — H 


S"3^i^3^^f?£-^= 


-••^-4- 


:3=:^=jq 


T-*- 


ei:^ 


itrT!: 


G  sharp  minor  (melodic).  «i»:^  -♦-#..  -       3 

(identical  with  A  tlat  niinor).i  .,_A.Sf*.r:  t^'T^  i^"-^--»-..     -t 

•  ^^^"^^^  1         ^    -^-^-t — I —  -* — t — I —  - —  -t — ^ — • -t — ^  -^A»«_ 


=i 


m^^^^^m 


i 


^^ 


T- 


G  sharp  minor  ( harmonic ). 
(identical  with  A  flat  minor.)' 


^««Jt.^  -^' 


\  lueiiLU-ai    \\  nil  .rt.  11  fit  niiiiin  .K    -^-m-   .fl_  -) 1 L__  .T—  .^t..^-  4 


l^S=^ 


:ii 


::ir,r*. 


:t:t:t-K-r:=f 


^ 


APPENDIX 

F  sharp  major.  2 

(identical  with  G  flat  major.)         1  .^-^-^ 


55 


B  sharp  minor  (melodic) 

(identical  with  E  flat  minor.)  «i*»-*9f*-  ft*  * 


^^^^^^^^^iiE^p^p 


Note. — The  relative  Minor  of  C  sharp  major  is  A  sharp  minor  (identical  with  B  flat  minor). 
It  is  not  in  use,  and  is  therefore  omitted  here. 

hz^ r^ ! 1 1 — rl 1 1 i — r^—^—M 


56 


BURROWES'   PIANO   PRIMER. 


D  minor  (harmonic). 


^^^^^^ 


S^^^fE^g^S^P 


tt-tt 


G  minor  (melodic).  i   ^GjL^  ^^^:g:-i«  ^  3 


■t^tz^i:^ 


*^rr^ 


pprpirrp:! :  =S: 


4 

G  minor  (harmonic).  i    _^  i»^JL£j!b  j^^*.        3 


1*~ 


.i_«- 


•■'*■•'   ... 


d:--zti 


E  flat  major.  !.«.-•-«.         * 


C  minor  (melodic). 


-q=33i 


^=±=t=t 


^*z^^ 


^^ 


U — I \—^-l K-^-lB 


D  flat  major. 

(identical  with  C  sharp  major.) 


.J:i:ti*. 


B  flat  minor  (meloilic). 


-*^ 


fM?^ 


58 


BUBROWES'   PIANO  PRIMER. 


B  flat  minor  (harmonic). 


i!fi*= 


^ 


a 


*^ 


^.-jr^ 


3= 


'-*-     •?=?- 


2  ^  -•   •    ~  4     3     2     3       4     12*  bf^B  ^J^ 


G  flat  major. 

(identical  with  F  sharp  major.)  '  ^. 


E  flat  minor  (melodic), 
(identical  with  D  sharp  minor.) 


~?   1 


E  flat  minor  (harmonic). 

(identical  with  D  sharp  minor.)  1^2 


ia_i_^ — 1 iq^K — L^ — ,_.i 


C  flat  major. 

(identical  with  B  major.) 


^^^^^^^Se^s^- 


^^CiZ 


:^2:^i-^^^^^^^^^^^^^,^^^^^Y'^^^ 


A  flat  minor  (melodic).  j  , 

(identical  with  (i  sharp  minor.)  ,        .^_  |;*§?:^t  |7*._i  4 


:fes^=i»Z?zAzbL^ 


^=^5^^ 


APPENDIX. 


59 


A  flat  minor  (harmonic). 

( identical  with  G  sharp  minor, 


^l^fe 


3  S  /t\ 


^t^tT^^^*^ 


8.2      1  ^2 


•  Scale,  combining  the  major  and  minor. 


)^        i 

•Constructed  by  Moritz  Hauptmann  and  occurs  sometimes  in  modern  music. 


60 


BURROWES'   PIANO  PRIMER. 


SECTION   H. 


BROKJEN    CHORDS    (ARPEGGIOS). 


(contrary  motion.) 

,        3     ^ 


APPENDIX. 


61 


B  minor. 


^=T::3rS= 


=r=^ 


^^i4 


=r-  -*  '    3 


A  major. 


i^pi 


fTf"Vjl 


5=5-i"~»=t=?t: 


^-T  ^  -  -^--f      #.       :;ft 


T- 


^ai^g=rm^"^^ 


■^■^ 


FJ  minor. 


T:*:-t-^ 


1 


.^.- 


^ 


-T:?-r 


^^ 


B  major. 


62 


BURRO  WES'   PIANO   PRIMER. 


GiJ  minor. 


i 


533 


^B= 


9      * 


4:^1^ 


:t=t 


r^ii 


m 


FJf  major, 

# 


4  4      ' 

2  2 


F  major 


1)  minor.  -^ 

I  S     M^.    3  I        I        I       I 

1  ii  1  1 


Ft= 


4  4  ^4 

3  I       I       I       I  3 


APPENDIX. 


63 


G  minor 


-ift_? III! 


5=^ 


i^ 


—!---'■-#-  I    ^— "■— ^™1  TV— 1- 


7t-^-  ,  I   I   [=^pw--r^-=t=n 


C  minor, 


64 


BURRO  WES'   PIANO  PRIMER. 


Bb  minor. 


'^t?-*    i   J   ^T|     I     I     I- — -l'^_T^ 


Ob  major. 


^^^^^^. 


Til  1  V— h 


a!?  minor. 


APPENDIX. 


SECTION   I. 

GUIDE    TO    PRACTICE. 
INTEODUCTION. 

The  course  of  practice  recommended  in  the  following  remarks  can- 
not be  expected  to  coincide  with  the  views  of  every  instructor,  or  be 
equally  applicable  to  all_j»iipilsj  the  point  sought  to  be  established  is 
that  the  pupil  should  have  a  regular  system  to  go  by,  and  in  what- 
ever particular  this  may  differ,  from  the  views  of  the  teacher  upon  the 
various  points  connected  with  the  mode  of  practising,  he  can  easily 
point  out  the  difference  he  wishes  to  be  made ;  at  all  events,  if  this 
Avork  serve  no  other  purpose,  it  will  have  the  effect  of  bringing  the 
subject  of  practice  more  particularly  into  notice,  and,  in  default  of 
better  instructions,  be  at  least  some  guide  to  the  pupil,  and  prevent 
much  of  that  waste  of  time  which  daily  occurs  with  those  who  even 
with  the  greatest  diligence  do  not  combine  method.  It  may  be  said 
that  every  instructor  is  the  best  judge,  and  gives  his  own  directions  as 
to  what  and  how  his  pupil  shall  practise.  To  a  certain  extent,  this  is 
true ;  but,  upon  the  principle  that  "  everybody's  business  is  nobody's 
business,"  it  may  frequently  be  left  undone ;  besides,  if  it  be  done,  a 
master  cannot  constantly  repeat  the  same  thing,  and  pupils  do  some- 
times forget. 

No  master  disputes  the  utility  of  the  daily  practice  of  exercises 
and  scales,  but  many  pupils  have  a  great  disinclination  thereto ;  and, 
though  it  is  not  to  be  doubted  that  every  one  will  practise  them  to  the 
extent  he  may  be  desired,  still,  as  that  which  is  done  willingly,  and 
with  a  conviction  of  its  being  conducive  to  improvement,  will  always 
be  not  only  more  pleasant,  but  much  more  satisfactory  in  its  results, 
than  that  which  is  done  as  a  mere  task,  the  author  assures  all  pupils 
that  more  improvement  will  be  made  in  one  month  by  those  who  prac- 
tise them  daily  than  will  be  made  in  six  or  even  twelve  months  by 
those  who  do  not. 

The  greatest  performers  never  discontinue  the  practice  of  scales 
and  exercises.  "  '  ^  "        ' 

It  is  scarcely  necessary  to  remark  that  practice,  to  be  efficient,  must 
be  upon  a  good  principle.  Practice  upon  a  bad  principle,  or,  what  is 
more  common,  without  any  principle  at  all,  will  but  confirm  error,  and 
render  it  more  difficult  to  conquer.  It  is,  therefore,  essential  to  pre- 
vent any  bad  habit  from  being  acquired  ;  and  the  very  first  time  a  child 
puts  its  fingers  on  the  keys,  it  should  be  taught  to  do  so  in  a  proper 


66  BURROWES'   PIANO  PRIMER. 

manner.  This  opinion  is  much  at  variance  with  common  practice ; 
which  is,  to  let  a  child  learn  anyhow  at  first,  and,  when  it  has  contrac- 
ted all  sorts  of  bad  habits,  to  give  it  a  good  master,  who  has  not  only 
to  teach,  but  also  to  unteach,  if  indeed  that  can  ever  be  done.  A 
child's  learning  any  tSiug  may  be  compared  to  the  winding  of  a  skein 
of  thread,  which,  if  it  has  never  been  tangled,  may  be  easily,  though 
perhaps  in  some  instances  slowly,  wound;  but  if  it  be  tangled, 
not  only  will  the  trouble  be  increased  tenfold,  but  the  chances  are  that 
it  will  be  broken  in  many  places,  and  consequently  never  perfect. 
Some  pupils  have  naturally,  that  is  to  say,  without  any  instruction 
as  to  how  it  should  be  done,  a  better  mode  of  touching  the  keys  than 
others,  as  some  persons  are  naturally  more  or  less  graceful  in  all  they 
do,  while  others  are  more  or  less  awkward ;  but  it  is  not  sufficient  that 
any  thing  be  well  done ;  it  must  be  done  well  upon  principle.  Those 
who  have  what  may  be  termed  a  natural  good  touch  will  have  less 
difficulty  to  contend  with,  but  they  must  not  be  allowed  to  be  ignorant 
of  the  principle  upon  which  they  do  well.  It  is  not,  however,  in  the 
province  of  these  remarks  to  give  a  detailed  explanation  of  the  prin- 
ciple upon  which  different  passages  should  be  played.  This  can  only 
be  properly  and  progressively  done  by  a  good  instructor. 

One  thing  cannot  be  too  strongly  impressed  on  the  mind  of  the  pu- 
pil, which  is  the  necessity  of  patience  and  perseverance  in  thoroughly 
understanding  and  playing  correctly,  though  perhaps  not  fluently,  the 
early  exercises,  as  upon  these  Avill  depend  all  the  future  progress.  If 
there  be  but  two  notes  to  be  played,  still  those  two  notes  must  be  well 
done,  and  it  is  not  sufficient  that  the  pupil  be  able  to  do  them  well 
once  or  twice,  but  he  must  practise  doing  so  ;  and  the  rule  for  going 
forward  must  never  be  when  any  thing  has  been  played  a  certain  num- 
ber of  times,  or  when  it  is  merely  correct,  but  when,  by  repetition,  it 
has  become  habitual  to  do  it  well.  As  an  incitement  to  perseverance, 
it  may  be  remarked,  that  those  who  understand  and  do  play  even  two 
notes  well  may  soon,  ^vith  the  same  application,  play  four,  and  so  on; 
whereas  those  who  pass  over  the  first  two  notes,  or  any  thing  else,  with- 
out being  thoroughly  understood  and  sufficiently  practised,  will  never 
make  any  satisfactory  progress, 

For  the  sake  of  giving  precise  directions,  it  has  been  assumed  that 
every  pupil  should  practise  two  hours  a  day  ;  and  it  may  be  with 
truth  said,  that  those  who  expect  to  make  any  efficient  progress  should 
do  this  at  the  least.  Those  who  adhere  strictly  to  the  directions  for 
the  two  hours  may,  it  is  conceived,  from  the  habits  acquired  thereby, 
be  safely  left  to  their  own  discretion  for  any  additional  time. 

ON   PRACTICE  IN    GENERAL, 

Fixed  hours  should  be  appointed  for  practice.  It  is  not  enough  to 
say  that  a  pupil  should  practise  two  or  more  hours  a  day,  but  the  time 


APPENDIX.  67 

for  so  doing  should  be  fixed ;  every  daj^'s  experience  shows  that  what- 
ever is  left  to  be  done  at  an  uncertain  time  is  frequently  left  undone, 
or  at  best  done  but  imperfectly. 

The  iirst  portion  of  every  hour's  practice  should  be  devoted  to 
exercises  or  scales. 

Practising  a  passage,  exercise,  or  scale,  does  not  mean  playing  it 
through  once,  twice,  or  thrice,  but  a  careful  repetition  of  it  twenty  or 
thirty  times  successively ;  and  the  practice  of  the  same  should  be  re- 
sumed daily  till  it  be  executed  with  correctness  and  precision,  and 
with  as  much  fluency  as  the  progress  of  the  pupil  will  admit. 

The  degree  of  rapidity  with  which  any  thing  is  played  may  be  con- 
ceded to  the  age  or  ability  of  the  pupil ;  but  respecting  the  principle 
upon  which  it  is  played,  there  must  be  no  compromise.  A  pupil, 
therefore,  must  not  conclude  any  thing  to  be  sufficiently  practised 
until 

Not  one  wrong  key  is  struck. 

/       Not  one  wrong  finger  used. 

[        Not  one  finger  down  when  it  ought  to  be  up,  or  up  when  it  ought 

\  to  be  down. 

.         The  hand  held  in  a  proper  position  throughout. 

;        The  piece  or  passage  played  in  proportion,  and  without  looking  at 

I  the  fingers. 

/        Nothing  which  fails  in  any  of  these  particulars  can  be  termed 

I  correctly  done. 

^  EULES   TO   BE    OBSEEVED  AT   PEACTICE. 

I.  Never  pass  a  mistake.  Never  pass  over  a  mistake,  but  whenever  a  wrong 
key  is  struck,  a  wrou,<(  finger  used,  if  a  finger  be  down  or  up  when  it  ought 
to  be  otherwise,  or  if  the  passage  be  not  played  in  proportion,  recommence  the 
passage,  and  continue  to  do  so  till  it  be  done  correctly.  Passing  on,  intending  to 
rectify  the  mistake  at  another  time,  will  only  serve  to  confirm  the  error,  and 
render  it  ultimately  more  difficult  to  conquer. 

II.  Practise  slowly  at  first.  Avoiding  mistakes  is  better  than  having  them  to 
rectify.  Practise,  therefore,  slowly  at  first,  and  when  the  passage  is  done  cor- 
rectly, increase  the  rapidity  to  the  desired  degree.  It  is  certain  that  that  which 
cannot  be  done  correctly  slow  vs^ill  not  be  correct  when  done  fast.  The  rapidity 
may  render  the  incorrectness  less  observable,  but  it  will  not  be  the  less  bad. 

III.  Ascertain  the  nature  of  the  difl&culty.  When  any  passage  is  found  to  be 
difficult,  the  first  point  is  to  ascertain  exactly  where,  and  in  what  particular,  the 
eiTor  or  the  difficulty  consists.  Suppose,  for  instance,  in  a  passage  of  twenty 
notes,  the  difficulty  lies  in  the  execution  of  two  or  three  notes  only  ;  in  that  case, 
practise  those  two  or  three  notes  till  they  be  done  with  readiness,  and  then  prac- 
tise the  whole  passage. 

IV.  Practise  with  each  hand  separately.  It  may  be  sometimes  advisable  to 
practise  a  passage  witli  each  hand  separately.  It  may  be  relied  on,  that  if  a  pas- 
sage be  not  played  correctly  with  one  hand  at  a  time,  it  will  not  be  well  done  with 
both  hands  together.  ' 


68  BURROWES'   PIANO  PRIMER. 

v.  Select  passages  for  practice,.  As  all  parts  of  a  piece  will  not  require  the 
same  degree  of  practice,  select  those  parts  in  which  there  is  any  difficulty,  and 
practise  them.  Much  time  is  saved  by  "this  method.  For  example,  suppose  in  a 
page  of  forty  bars,  there  are  two  which  will  require  practising  lifty  times,  or  more, 
to  do  correctly  ;  it  is  obvious  that  it  will  be  less  trouble,  and  take  less  time,  to 
practise  the  two  bars  fifty  times  than  the  whole  page  fifty  times  ;  besides  which, 
any  difficulty  will  te  much  sooner  surmounted  by  being  played  fifty  times  succes- 
sively, than  if  it  be  played  the  same  nuujber  of  times,  with  forty  or  fifty  bars  in- 
tervening between  each  repetition. 

VI.  Practise  iu  small  portions.  When  a  piece  contains  no  decided  compara- 
tively difficult  passage  requiring  to  be  practised  as  above,  still  it  is  desirable  to 
practise  it  in  small  portions,  rather  than  straio;ht  through  from  the  beginning  to  the 
end.  For  instance,  suppose  two  pages  containing  eighty  bars  are  to  be  practised; 
the  pupil  will  be  much  more  familiarized  with  the  piece  by  playing  portions  of 
eight  or  sixteen  bars,  as  may  be  convenient,  each  twenty  times,  than  if  he  played 
tha  whole  eighty  bars  straight  through  twenty  times. 

VII.  Caution  required  in  selecting  passages.  In  selecting  passages  for  prac- 
tice, it  is  desirable  not  to  begin  or  end  always  at  the  same  place,  unless  it  be  a  com- 
pletely detached  passage  ;  otherwise  a  habit  of  hesitating  or  stopping  at  a  partic- 
ular place  will  be  contracted,  which  may  be  afterwards  difficult  to  overcome. 

VIII.  Extend  and  reverse  passages.  It  is  frequently  useftd  to  lengthen  or  ex- 
tend a  passage  to  a  greater  compass  tlian  may  be  required  in  the  piece,  or,  in  fact, 
to  make  an  exercise  of  It.  For  example,  if  an  arpeggio  extending  two  octai'es;:e^ 
quire  practice,  it  will  be  good  policy  to  practise  it  to  the  extent  of  three  or  four 
octaves.  '      " 

It  is  also  desirable,  when  the  passage  will  admit  of  it,  to  practise  both  ascend- 
ing and  descending,  although  only  one  way  may  be  required  in  the  piece. 

IX.  Repeat  correctly  six  successive  times  at  least.  No  passage  that  has  been 
badly  played  should  be  considered  a.s  sufficiently  praeti-sed  when  done  once  or  twice 
right;  snx  successive  times,  without  error,  is  the  least  that  can  be  depended  on. 

If.  on  resuming  the  practice  of  the  same  on  another  occasion,  it  should  be  in- 
correct, (as  will  frequently  be  the  case,)  it  should  be  practised  till  it  be  done 
TWELVE  si'ccEssivE  tiuies  without  error,  and  so  on  till  it  can  be  with  certainty, 
played  correctly. 

X.  Practise  piece  as  a  whole.  After  practising  in  detail  as  above  described, 
the  piece  must  be  carefully  practised  as  a  whole  from  beginning  to  end.  If,  in 
doing  thi.s.  any  mistake  .should  occur,  the  best  remedy  is  to  recommence  the 
whole  page  or  two,  (nothing  fixes  the  attention  so  much  as  this,)  and  continue  to 
do  so  until 

Xot  one  wrong  key  be  struck. 
Not  one  wroTig  finger  used. 

Not  one  finger  be  down  or  up  when  it  ought  to  be  otherwise,  and  until  the 
whole  be  played  through  in  proportion. 

XI.  After  Correctness,  Practise  for  Fluency.     Practice,  besides  being  necessary 

for  insuring  correctness  in  any  piece  or  ])as.sage,  is  afterwards  requisite  for  the  pur- 
pose of  gaining  more  fluency  or  more  finisli  in  the  manner  of  executing  it. 

XII.  Practise  till  Perfect.  Lastly,  it  may  not  be  amiss  to  remark,  that 
althouuh  it  is  desirable,  both  by  diligence  and  method,  to  accomplish  as  much  as 
possible  in  the  shortest  time,  still  a  pupil  should  remember  that,  when  any  piece  is 


APPENDIX.  69 

played,  nobody  inquires  how  often  iilias  been  practised,  or  how  long  the  performer 
^as  been  learning  it  —  the  (uily  point  is.  whether  it  be  weTTor  JU  done,  ff o  stated 
number  of  times  can,  liierefure,  Le  fixt.d  upon  ;  but  a  pIece  should  be  peactisbd 
TILL  ir  llE  rEKFEcr.  "■'"         .— — »— ^"^  ~\ 

POSITION   OF    THE   HAND   AND   ABM. 

The  hand  and  fore-arm  should  be  in  a  straight  line  from  the  elbow  to 
the  middle  joint  of  the  second  finger,  keeping  the  wrist  neither  raised 
nor  depressed.  The  fingers  are  to  be  kept  moderately  bent,  and  a^iaxt, 
(directing  particular  attention  to  the  third  and  fourth  fingers,  which 
are  more  apt  to  be  too  close  together  than  the  others,)  so  that  one 
finger  may  be  over  the  centre  of  eaabikey  ;  and  the  thumb  must  always 
be  kept  over  a  key.  It  is  of  the  highest  importance  to  attend  to  the 
keeping  of  each  finger  over  the  centre  of  a  kev,  for  many  persons,  not- 
withstanding they  may  encompass  five  keys  from  the  thumb  to  the  lit- 
tle finger,  by  keeping  the  other  fingers  at  unequal  distances,  play  in- 
distinctly. For  example,  supposing  the  right  thumb  to  play  C,  instead 
of  striking  F  distinctly  with  the  fourth  finger,  they  strike  both  E  and 
F  with  the  third  finger.  Errors  of  this  sort  are  not  at  all  uncommon, 
particularly  in  arpeggio  passages,  and  should  be  guarded  against  from 
the  first,  by  acquiring  a  habit  of  keeping  each  finger  over  the  centre 
of  a  key. 

OF  THE  MANNER   OF   TOUCHING   THE    KEYS,    OR    PUTTING   DOWN  AND 
RAISING   THE   FINGERS. 

This  is  a  point  not  generally  sufficiently  attended  to,  but  it  is  one  of 
the  greatest  importance,  and  should  be  thoroughly  understood  and  put 
in  practice  at  first ;  for  the  want  of  a  proper  manner  of  putting  down 
and  raising  the  fingers  throws  great  additional  difficulty  in  the  execu- 
tion of  every  thing  that  is  played,  and  not  only  adds  difficulty,  but 
gives  a  bad  effect,  however  perfect  the  performance  may  be  in  all  other 
respects.  If  the  attention  be  strictly  directed  to  this  at  first,  the 
proper  manner  of  putting  down  and  raising  the  fingers  will  "become  a 
habit,  and  will  cause  no  trouble  afterwards,  Avhereas,  if  this  be  neglected 
at  first,  and  the  pupil  be  allowed  to  practise  upon  a  bad  or  upon  no 
fixed  principle,  bad  habits  will  be  acquired,  and  become  more  or  less 
confirmed,  in  proportion  to  the  degree  of  practice,  and  which,  if  ever 
they  be  overcome,  must  be  so  at  the  expense  of  much  labor  and  time. 
It  is,  therefore,  essential  to  prevent  any  bad  habit  being  contracted. 

The  rule  is  simply  to  hold  the  finger  down  on  one  key  till  the  next 
is  down,  but  xot  loxgek;  or,  as  it  may  be  otherwise  expressed, — 

Two  keys  wKich  are  to  be  played  successively  must  not  be  held  down 
together,  neither  must  one  be  raised  till  the  other  is  down.  In  order 
to  direct  the  attention  particularly  to  this  point,  it  may  be  as  well  to 
remark^  that   if  the  finger  be  held  down  too  long  after  the  following 


70  BURROWES'   PIANO  PRIMER. 

key  is  struck,  it  may  be  so  in  a  greater  or  lesser  degree.  For  instance, 
suppose  C  D  are  to  be  played  successively ;  C  may  be  held  during  the 
whole,  or  half,  or  a  quarter  of  the  time  after  D  is  down,  either  of  which 
is  wrong,  though  not  equally  so.  It  is  not  unusual  with  those  who 
have  a  bad  touch,  when  five  successive  keys  are  played,  to  find  the 
whole  five  down  at  once  ;  so  that  the  first  is  down  four  times  longer 
than  it  ought  to  be,  and  the  others  proportionably  so. 

It  may  be  remarked,  that  those  who  hold  the  fingers  down  too  much 
in  some  places  generally  raise  them  too  soon  in  others.  Raising  the 
finger  from  one  key  before  the  next  is  down  must  equally,  as  a  general 
rule,  be  guarded  against,  as  it  gives  a  broken  and  disjointed  effect. 

Let  it  not,  however,  be  conceived  that  either  holding  one  key  down 
after  the  next  is  struck,  or  taking  one  up  before  the  next  be  down,  is 
wrong,  if  marked  to  be  so  played.  What  is  intended  to  be  impressed 
on  the~iriind  of  the  pupil  is,  that  the  general  rule  must  be  to 

Hold  one  key  till  the  next  is  down,  but  not  longer. 

And  no  exercise,  passage,  or  lesson  should  be  played  in  which  this 
cannot  be  strictly  attended  to,  until  a  perfect  habit  of  playing  upon 
this  principle  is  acquired ;  after  which  the  exceptions,  such  as  raising 
the  fingers  at  the  rests,  repeated  notes,  and  those  marked  to  be  played 
staccato,  etc.,  must  be  learned 

OF   PEELIMINABY   EXEECISES. 

It  is  important,  when  striking  a  key  with  one  finger,  to  do  so  with- 
out moving  the  others.  To  acquire  the  power  of  doing  this,  exercises 
in  which  some  fingers  are  held  firmly  down  while  the  others  are  mov- 
ing must  be  practised.  These  exercises  are  termed  "  preliminary," 
because  they  are  to  be  practised  before,  and  because  they  dilfer  in 
principle  from  all  others  in  this  respect,  viz.,  that,  for  the  purpose  of 
acquiring  for  each  finger  a  free  action,  independent  of  the  others, 
those  fingers  which  are  not  employed  in  playing  are  to  be  held  down ; 
whereas  the  general  rule  in  all  other  exercises  is,  to  hold  none  down 
but  what  are  actually  employed  in  playing. 

The  daily  practice  of  these,  for  a  short  time  previous  to  other  exer- 
cises, Avill  always  be  highly  beneficial. 

OF  LOOKING  AT   THE   FINGERS. 

It  is  essential  tliat  the  pupil  should  acquire  the  power  of  playing 
without  looking  at  tlie  fingers.  To  accomplish  this,  a  little  time  should 
occasionally  be  devoted  to  this  object  exclusively. 

It  must  be  obvious  that  the  object  of  all  exercises  for  this  purpose 
will  be  defeated,  if  they  be  played  till  the  pupil  remember  them  ; 
therefore,  the  same  must  never  be  played  twice  in  one  day. 

Besides  those  which  are  expressly  intended  (by  directing  the  atten- 


APPENDIX.  71 

tion  fpr  the  time  being  to  that  object  solely)  to  teach  the  pupil  to  play 
without  looking  at  the  fingers,  it  must  be  borne  in  mind  that  all  the 
other  exercises  should  be  played  at  first,  and  afterwards  practised  till 
they  can  be  executed  without  once  looking  at  the  fingers  after  first 
placing  the  hand. 

OF   THE  FBACTICE   OF   EXERCISES. 

The  greatest  difficulties  arise  from  a  want  of  attention  to  the  posi- 
tion of  the  hand,  and  the  manner  of  putting  down  as  well  as  taking  up 
the  fingers  at  the  proper  places.  The  attention  of  the  pupil  must, 
therefore,  be  directed  to  these  points  in  the  practice  of  exercises  until 
it  becomes  habitual  both  to  hold  the  hands  well,  and  touch  the  keys  in 
a  proper  manner.  Exercises  are  classed  for  different  purposes,  such  as 
the  practice  of  single  notes,  double  notes,  arpeggios,  etc.,  etc.,  and,  as 
passages  similar  to  all  exercises  will  be  found  in  lessons,  they  will, 
after  being  practised  and  mastered  as  exercises,  not  appear  as  diffi- 
culties when  they  occur. 

OBDEB   OF   LEABNING   AND   PBACTISINQ   THE    SCALES. 

When  the  pupil  is  sufficiently  advanced,  the  scales  should  be 
learned  and  practised  daily. 

On  Mondays,  or  any  fixed  day  of  the  week,  learn  one. major  scale, 
taken  in  regular  order,  and  its  relative  minor,  and  practise  the  same 
six  times,  or  more,  every  day  during  the  week ;  but  if,  at  the  week's 
end,  they  are  not  done  correctly,  and  with  as  much  fluency  as  may  be 
desired,  the  same  must  be  practised  for  a  week,  or  as  many  weeks 
more  as  may  be  requisite,  before  proceeding  to  the  next. 

The  scales  should  be  practised  in  several  different  ways. 

First  Mode  of  Going  Through  the  Scales.  Practice  with  each  hand  separately, 
ascending  and  descending  six  or  more  times  without  intermission. 

It  may  not  be  useless  to  remark  that,  in  whichever  mode  they  be  practised, 
the  following  points  must  be  attended  to  :  — 

The  hand  must  be  held  in  a  proper  position  throughout. 

As  one  finger  goes  down,  the  former  must  be  raised,  so  that  always  one,  and 
only  one,  key  be  down  at  a  time. 

In  passing  the  thumb  under  the  fingers,  or  fingers  over  the  thumb,  great  care 
must  be  taken  to  do  so  with  as  little  motion  of  the  hand  as  possible. 

When  this  is  thoroughly,  though  perhaps  slowly,  accomplished,  the  pupil  may 
proceed  upon  the  same  principle  to  the  scale  next  in  succession,  until  all  have  been 
gone  through  with. 

When  all  the  scales  have  been  practised  through  in  this  manner,  it  will,  most 
probably,  be  desirable  to  recommence,  and  go  through  the  same  course  again,  be- 
fore proceeding  to  the  next  mode. 

Second  Mode  of  Going  Through  the  Scales.  Practise  with  both  hands  together, 
ascending  and  descending  eight  or  more  times  successively.  The  same  directions 
as  to  position  of  the  hand,  correctness,  and  repetition,  if  necessary,  of  the  same 


72  BURRO  WES'   PIANO  PRIMER. 

scales,  must  be  attended  to  in  this  and  succeeding  modes,  as  are  recommended  in 
the  first  mode  of  practising  the  scales  ;  also,  the  repetition  of  the  whole  course,  if 
necessary. 

Third  Uode  of  Going  Through  the  Scales.     Instead  of  ascending  and  descending 
_a8_  before,  practise  each  scale  six  or  more  times,  ascending  only,  and  then  as 
many  times  descending  only,  with  each  hand  separately. 
Practise  progressively  with  increased  rapidity. 

Fourth  Mode  of  Going  Through  the  Scales.  Practise  each  scale  eight  times,  or 
more,  ascending  only,  and  then  as  many  times  descending  only,  with  both  hands 
"together. 

Practise  progressively  with  increased  rapidity. 

Fifth  Mode  of  Going  Through  the  Scales.  Practise  each  scale  in  thirds  eight 
times,  or  m,Qr§. 

To  play  a  scale  in  thirds,  begin  with  the  right  hand  on  the  third  of  the  scale, 
with  the  finger  that  would  have  been  upon  it  had  the  scale  been  commenced  on  the 
key  note,  playing  at  the  same  time  with  the  left  hand  in  the  usual  manner. 

Sixth  Mode  of  Going  Through  the  Scales.    Practice  each  scale  in  sixths  eight 

times,  or  more. 

To  play  a  scale  in  sixths,  begin  with  the  left  hand  on  the  third  of  the  scale, 
(viz.,  a  sixth  below  the  right  hand),  with  the  finger  that  would  have  been  upon  it 
had  the  scale  been  commenced  with  the  key  note,  playing  at  the  same  time  with 
the  right  hand  in  the  usual  manner. 

ON   THE  FBACTICE    OF    OLD   LESSONS. 

It  is  desirable  to  keep  up  the  practice  of  the  old  lessons,  but  it  is 
presumed  that  a  little  time  will  suffice  for  that  purpose,  if  they  have 
been  properly  learned  ;  therefore,  at  the  second  hour's  practice,  on 
Tuesdays,  Thursdays,  and  Saturdays,  practise  an  old  lesson ;  if  it  be 
done  properly,  proceed  to  another ;  but  if  notj  resume  the  practice  of 
the  same  on  the  appointed  days,  till  it  be  perfect. 


APPENDIX. 


73 


SECTION  J. 


THE    PRINCIPAL    CHORDS. 


141.  Whai  is  a  chord  f 

A  combination  of  three  or  more  simultaneous  notes. 

142.  What  are  the  simplest  chords  ? 

Those  formed  on  any  tone  of  the  scale  with  its  own  third  and  fifth ; 
such  chords  are  called  triads  (trai-ads)  because  they  have  three  (har- 
monic) tones. 

Form  the  triads  of  C  ;  G  ;  A  ;  F. 

C  Triad.  G  Triad.  A  Triad.  F  Triad. 


Above,  the  root  or  fundamental  (the  tone  from  which  we  count 
the  intervals)  is  printed  as  a  white  note,  and  the  accessory  (or  added) 
notes  as  black  ones. 

143.     Are  there  ever  any  more  than  exactly  three  notes  in  any  triad  f 

Only  three  different  letters  :  but  these  may  each  be  played  in 
separate  octaves  at  once  (or  doubled,  as  it  is  called),  without  affecting 
the  name,  or  changing  the  harmonic  relation  of  the  chord.  For  ex- 
ample. 

0  Triad.  G  Triad.  A  Triad,  F  Triad. 


i 


mi 


The  above  presents  precisely  the  same  triads  as  those  given  in  the 
preceding  example,  only  the  notes  are  variously  doubled. 

Note.  —  Give  tlie  letters  (disregarding  flats  and  sharps)  of  the  triads  on  D  ;  E  ;  F  ;  G  ; 
A;  B. 

144.     In  any  given  key,  which  are  the  most  important  triads  ? 

Those  founded  on  the  tonic,  dominant,  and  sub-dominant  tones. 


Note. — Consult  paragraph  123. — Tlie  pupil  should  now  be  required  to  find  the  tonic  domi* 
nant,  and  sub-dominant  triads  in  the  simpler  keys  :    such  as  C,  G,  F,  D,  Bb,  A  and  E!7. 


74 


BURROWES'   PIANO  PRIMER. 


145.  Can  toe  also  form  triads  from  the  notes  of  the  minor  scale  f 

We  can  in  the  real,  or  harmonic  minor  scale,  as  given  in  paragraph 
124  and  Section  G,  Appendix ;  but  not  from  the  melodic  passages 
given  in  paragraph  125,  and  in  Section  G,  Appendix. 

Find  and  play  the  tonic,  dominant,  and  sab-dominant  triads  in  the  keys  of  A  minor  ;  E 
minor  ;  D  minor  ;  G  minor  ;  and  C  minor. 

146.  What  is  the  difference  between  a  major  and  a  minor  triad  f 

In  the  major  triad,  the  interval  of  the  third  (from  the  root)  is  a 
major  third ;  but  in  the  minor  it  is  a  minor  third  ;  and  we  also  remark 
that  in  forming  triads  on  the  notes  of  the  major  scale,  some  of  them 
(founded  on  the  supertonic,  mediant,  and  submediant)  will  be  minor 
triads  although  belonging  to  the  major  scale ;  again,  the  dominant 
triad  of  a  minor  key  is  always  a  major  triad. 

Note.  —  The  pupil  must  at  once  learn  not  to  confound  the  major  scale  with  the  major  triad, 
or  tlie  minor  scale  with  the  minor  triad.  The  necessary  limits  of  the  present  work  do  not  pdmit 
of  more  detailed  explanation. 

147.  Must  the  root  of  a  chord  always  be  its  lowest,  or  bass  note  f 

Xo ;  either  of  the  other  two  notes  of  a  triad  may  stand  as  a  bass- 
note  ;  the  chord  is  then,  however,  said  to  be  inverted. 

148.  How  many  inversions  are  there  of  the  triad  ? 

As  there  are  only  two  letters  beside  the  root,  in  the  triad,  it  fol- 
lows that  there  can  be  only  two  inversions ;  and  these  are  called  the 
first  and  second  inversions. 

149.  What  is  the  first  inversion  1  what  the  second .? 

When  the  note  which  originally  formed  the  interval  of  the  third 
from  the  root,  becomes  the  bass-note,  we  say  that  the  triad  stands  in 
the  first  inversion ;  when  the  original  fifth  becomes  the  bass-note, 
the  triad  is  then  in  the  second  inversion. 

Note.  —  It  is  of  no  present  importance  to  consider  which  of  the  notes  stands  uppermost, 
we  have  only  to  observe  which  is  the  bass-note. 


^ ^ =^- ^ ^ --Sr- 


1st  Inv.  2d  Inversion. 

The  three  foregoing  chords  are  each  of  them  the  triad  of  C. 

Note.  —  Tlie  distinction  between  the  root,  and  actual  bass-note,  must  be  thoroughly  com- 
prehended. 

The  pupil  may  now  give  i)oth  inversions  of  the  triads  specified  in  paragraphs  144  and  146. 
150,    After  the  triad,  what  is  the  next  most  important  chord  f 


APPENDIX. 


to 


The  chord  of  the  seventh,  of  which  there  are  several  species ;  but 
the  most  frequent  and  impoitant  is  called  the  dominant  seventh. 

(See  note  to  paragraph  146.) 

161.     Why  called  the  dominant  seventh,  and  how  formed  ? 

First,  because  it  is  always  founded  on  the  dominant  of  a  scale, 
whether  a  major  or  minor  scale  ;  second,  it  is  formed  by  adding  to 
the  dominant  triad  the  note  which  stands  at  the  interval  of  a  minor 
seventh  from  the  root. 

Key  of  C. 


\t=' =ii = — n —          II 

Tonic  Triad.  Dominant  Triad.     Dominant  Seventh. 

The  letter  F,  seventh  from  the  root  G,  added. 

Key  of  A  Minor. 


$ 


m 


Tonic  Triad. 


Dominant  Triad.     Dominant  Seventh. 


Form  dominant  sevenths  in  the  keys  of  G  ;  D  ;  A  ;   E  ;  F  ;   Bb  ;  Eb  ;  Ab  ;    also  in  the 
keys  of  E  minor  ;   B  minor  ;   FJ  minor  ;   <J$  minor  ;   D  minor  ;  G  minor  ;  C  minor  ;   F  minor. 
The  pupil  must  not  be  allowed  to  confound  the  root  of  a  chord  with  the  tonic  of  a  scale. 

152.     Is  the  dominant  seventh  ever  inverted  ? 

Yes,  precisely  like  the  triads  ;  but  as  the  chords  of  the  seventh 
have  three  tones  beside  the  root  it  follows  that  there  can  be  three  in- 
versions. 


^          Uninverted. 

1st  Inv. 

2d  Inv. 

3d  Inv. 

f=i-:^^ 

• 

«>» 

,s 

• 

^: ^ 

1 -^ 

\^ 

» 

• 

\ 

XoTE.  —  For  the  resolutions  of  the  chords  of  the  seventh,  and  for  an  explanation  ot  vari- 
ous other  chords,  with  their  inversions  and  progressions,  as  well  as  many  important  matters  in 
connection  therewith,  the  pupil  may  now  (if  of  sufBcient  age  and  progress)  profitaWy  study  a 
standard  and  not  too  technical  work  on  harmony,  such  as  York's  Harmony  Simpiijied,  to  be 
followed  in  due  time  by  more  detailed  and  comprehensive  works. 


76 


BURROWES'   PIANO  PRIMER. 


SECTION  K. 


ADDITIONAL    ABBKEVIATIONS    OF    NOTATION, 

A  single  dash  over  a  whole-note,  or  through  the  stem  of  any  note,  means  that  the  note  is 
to  be  played  in  as  many  eighth-notes  as  are  equal  to  its  value  : 


i 


Written. 


Played. 

-■•  -  ■0-»—0—»-m-0-»-  —•-•-#-• — ■m—S-t 


A  double  dash  similarly  placed,  means  that  the  note  should  be  played  in  an  equivalent 
number  of  sixteenths. 


Written 


:      I    I    |:-:jS=g--1-rT|-=eBg3[:iir?rr!=±^:rr!zJB=j3r:j! 


^^^23^ 


A  dash  connecting  the  stems  of  two  half-notes,  means  that  the  two  should  be  played  in 
succession,  in  equivalent  eigliths  :  a  double  dash  shows  that  they  are  to  be  played  in  sixteenths. 


Written. 


=^= 


Plaved. 


iz1-zq-q  J : 


---X^X- 


=X:i^^ 


p^ii=^; 


The  word  tretnolan<fn  (trevi.),  in  connection  with  passages  like  the  above,  means,  play  the 
notes  as  ((uickly  as  possible,  as  in  the  trill. 

There  are  iitlier  abbreviations,  of  less  frequent  occurrence,  which  can  best  be  explained 
by  tlie  teacher  as  they  may  occur,  as. 


^E^r^^*— 3— 3 


and  others  ;  also  abbreviations  of  the  Italian  words  referred  to  on  pages  77  and  80. 


APPENDIX. 


77 


SECTION   L. 


ABBREVIATIONS. 


Accel.,  accelerando. 
Accom.,  accompaniment. 
Adag.,  adagio. 
Ad  lib.,  ad  libitum. 
Affet.,  affetuoso. 
AW  8va.,  air  ottava. 
AW  or  Alio.,  allegro. 

Allg^^"  or  Allgtto.,  allegretto. 
Al  seg.,  al  segno. 

And^^  or  Andte.,  andante. 
Anif^"  or  Andno.,  andantino. 
Arp.  or  Arpegg.,  arpeggio. 

Cad.,  cadenza. 

Cal.,  calando. 

Cant,  or  Cantab.,  cantabile. 

C.  espr.  or  Con  espr.,  con  espressione. 

ColC,  col  canto. 

Con  8va.,  con  ottava. 

C.  P.,  colla  parte. 

Cr.,  Cres.,  Cresc,  crescendo. 

Cres.  al  f.  (or  ff),  crescendo  al  forte  (or 

fortissimo). 
Cres.  dim.,  crescendo  e  diminuendo. 

D.  C,  da  capo. 
Decresc,  decrescendo. 
Dim.,  Dimin.,  diminuendo. 
DoL,  dolce. 

D.  S.,  dal  segno. 

Espr.,  Espr  ess.,  espressivo. 

F  (or /),  forte. 

FF  (or  jf) ,  fortissimo. 

FFF  {or  fff).  n\o\to  fortissimo. 

FP  (or/p),  forte  piano. 

FZ  (or  fz),  forzando. 

L.  left  hand. 
Leg.,  legato. 
L.  i/.,  left  hand. 

M.,  mezzo. 
M.,  metronome. 


M.  D.,  mano  destra,  main  droit. 

Marc,  marcato. 

Mez.,  mezzo. 

Mez.  F.,  mezzo  forte. 

Mez.  P.,  Mez.  Pia.,  mezzo  piano. 

MF  (or  mf),  mezzo  forte. 

M.  G.,  main  gauche. 

M.  M.,  Maelzel's  metronome. 

Mod.,  Mod^^,  moderato. 
MP  (or  mp),  mezzo  piano. 
M.  S.,  mano  sinistra. 

P  (or  p),  piano. 

Ped.,  pedal  e. 

PP  (or  pp),  pianissimo. 

PPP  or  {ppp),  molto  pianissimo, 

R.,  right  hand. 

Rail.,  rallentando. 

R.  H.,  right  hand. 

Rinf.,  rinforzando. 

Rit.,  i2itarrf.,ritardando. 

Riten.,  ritenuto. 

RF.,  RFZ.  (or  rf,  rfz),  rinforzando. 

Scherz.,  scherzando. 
Seg.,  segue. 
Sent.,  semplice. 
SFZ  (or  sfz),  sforzando. 
Smorz.,  smorzando. 
Sost.,  sostenuto. 
Stac,  staccato. 
String.,  stringendo. 

Ten.,  tenuto. 

Tr.,  trillo. 

Trem.,  tremolando. 

U.  C,  una  corda. 
Unis.,  unison. 

Var.,  variationi. 
V.  S.,  volti  subito. 


78 


BUBBOWES'   PIANG  PBIMEB. 


SECTION   M. 


MUSICAL    FORMS    AND    MOVEMENTS. 

&  ale,  &  add,  ft  arm,  S  eve,  S  end,  i  ice,  I  ill,  o  old,  5  odd,  5  (fove,  oo  moon,  a  /ute,  fi  bat, 

ii  French  sound. 


Abendlled,  Ger.  (a-bfind-lBd.)  Evening  song, 
or  hymn. 

Allemande,  Fr.  (ail-manhd.)  A  German  air; 
also,  a  slow  dance  or  melody  of  four  quar- 
ter notes  in  eacb  measure,  peculiar  to  Ger- 
many and  Switzerland. 

Aria,  It.  (a-re-a.)  An  air,  a  song,  a  tune; 
sung  by  a  single  voice  either  with  or  with- 
out an  accompaniment. 

Arietta,  Jt.    (a-re-a<-ta.)  1  A  short  air  or  mel- 

Ariette,  Fr.    ^a-re-5t.)     )     ody. 

Ari68o,  It.  (ii-re-o-zo.)  A  short  piece  in  the 
style  of  an  aria,  but  less  symmetrical  in 
construction. 

Ballad.  )      A  short,  simple 

Ballade,  ^er.    (bal-?a-d6.)  J  song    of    natural 

Ballata,  It.  (biil-Zci-ta.)  )  construction,  usu- 
ally in  the  narrative  or  descriptive  form. 
It  formerly  had  a  wider  signification,  and 
was  applied  to  music  set  to  romance  or 
historical  poem,  and  also  to  a  light  kind  of 
music  used  both  in  singing  and  dancing. 
The  word  Ballad  means,  now,  any  unvaried 
simple  song,  each  verse  being  sung  to  the 
same  nielody. 

Ballet,  Fr.    (bai-la.)     _    )     A  theatrical  rep- 

Balletto,  It.  (bal-/aMo.) )  r  e  s  e  n  t  a  t  i  o  n  of 
some  story  or  fable,  by  means  of  dances  or 
metrical  "action,  accompanied  with  music. 
In  England  the  second  or  concluding  piece 
of  the  evening's  entertainment  is  generally 
a  ballet.  In  the  sixteenth  century  the  term 
ballet,  ballad,  or  ballette  was  applied  to  a 
light  kind  of  music  which  was  both  sung 
and  danced. 

Barcarolle,  Fr.  (bar-ka-roi.)  A  song  or  air 
sung  by  the  Venetian  yondotiirs  or  lioat- 
men,  wtiile  following  their  avocations;  boat, 
song. 

Bolero,  Spa.  (bo-?a-ro.)  A  lively  Spanish 
dance,  in  3-1  time,  with  castanets. 

Bourree,  /•>•.  (boor-ra.)  A  dance  introduced 
from  IMscay ;  often  found  in  music  of 
Bach's  time. 

Cabaletta, //.  (kii-ba-Za^-tii.)  A  simple  melody 
of  a  pleasing  and  attractive  character  ;  an 
operatic  air  like  the  rondo  in  form  ;  a  cava- 
letta. 

Canon,  (kdn-dn.)  Akindof  perpetual  fugue, 
in  which  two  or  more  parts,  beginning  one 
after  another,  repeat  the  same  air. 

Cantata,  It.    (kUw-td-tiv.)     |      A  poem  set  to 

Cantata,  />.     (,k.Hnh-^■i^)     J  music ;    a    vocal 

Cantate,  (^cr.  (kfl,u-^a-t6.) )  composition  of 
several  movements,  comprising  airs  and 
recitatives ;  a  short  oratorio  or  operetta 
without  action. 

Canzona,  /^     (kiin-^w-na.)  |     A  Song,  ballad. 

Canzone,  It.  (kiin-^.s-o-ne.)  (  canzonet.  2.  A 
graceful  ami  somewhat  elaborate  air  in  two 
or  three  strains  or  divisions.  3.  An  air 
in  two  or  three  parts  with  passages  of  fugue 
and  imitation,  somewhat  similar  to  the 
madrigal. 


Canzonn^tta,  It.  (kan-<«o-na^tS.)  A  short 
canzone. 

Capriccio,  It.  (ka-pre/-she-6.)  A  fanciful  and 
irregular  species  of  composition  ;  a  species 
of  fantasia ;  in  a  capricious  and  free  style. 

Cavatina,  It.    (ka-va-<e-na.)  1      An  air  of  one 

Cavatine,  Fr.  (kav-a-<en.)  |  strain  only,  of 
dramatic  style,  sometimes  preceded  by  a 
recitative. 

Chacdna,  Spa.    (tshji-io-na.) )     A  chacone,  a 

Chaconne,  Fr  (sha-k6nh.)  /  graceful,  slow 
Spanish  movement  in  3-4  time,  and  com- 
posed upon  a  ground  bass.  It  is  always  in 
the  major  key,  and  the  first  and  third  beats 
of  each  bar  are  strongly  accented. 

Chanson,  Fr.    (shanb-s5nh.)    A  song. 

Choral,  Ger.  (ko-rfl?.)  Psalm  or  hymn  tune  ; 
choral  song  or  tune. 

Comic  Opera.  Burlesque  opera  ;  an  opera  in- 
terspersed with  light  songs,  dances  and  jests. 

Concerto,  It,  (kOn-feWr-tO.)  1.  A  composi- 
tion for  a  solo  instrument  with  orchestral 
accompaniments.    2.  A  concert ;  harmony. 

Courante,  Fr.  (koo-ranht.)  Jtunning :  an  old 
dance  in  triple  time. 

Duet.  A  composition  for  two  voices  or  in- 
struments. 

Eclogue.    A  pastoral  song  or  poem. 

Elegia,  It.    (61-a-;e-a.)  1     A      mournful      or 

Elegie,  Fr.    (6l-a-zhe.)  J  plaintive  poem,  or  a 

Elegy.  )  funeral  song. 

Entr'  acte,  Fr.  (anh-tr'  akt.)  Between  the 
acts  ;  music  played  between  the  acts  of  a 
drama. 

Etude,  Fr.    (a-tUd.)    A  study,  an  exercise. 

Pantaisie,  Fr.    (fan-ta-ze.)  1      Fancy,  imagi- 

Fantasia,  It.    (fan-tji-ze-a.)  >  nation,  caprice  ; 

Fantasie,  Ger.  (fiin-ta-x?.) )  a  species  of  mu- 
sic in  which  the  composer  yields  to  his  im- 
agination, and  gives  free  scope  to  his  ideas, 
without  regard  to  those  restrictions  by 
which  other  productions  are  regulated. 

Finale,  It.  (fe-»io-15.)  Final,  concluding; 
the  last  piece  of  any  act  of  an  opera  or  of  a 
concert ;  or,  the  last  movement  of  a  sonata 
or  symphony,  etc. 

Fugue,  (f  iig.) '  A  term  derived  from  the  Latin 
word  fiu/a,  a  flight.  It  is  a  composition  in 
the  strict  style,  in  which  a  subject  is  pro- 
posed by  one  part  and  answered  by  other 
parts,  according  to  certain  rules.  There  are 
three  distinct  kinds  of  fugues,  the  simple, 
double,  and  counter. 

A  quick  dance,  gener- 


Qalop,    Fr.    (f/al-o.) 

ally  in  2-A  time. 
Giga,  It.    (>--ga.) 
Gigue,  Fr.     (zheg.) 
Gigue,  ffer.    (gheg.) 


A  jig,  or  lively  species 
of  dance.    The"  name  is 
supposed  to  be  derived 
from  the  German  word  geif/,  or  geige,  mean- 
ing a  tiddle,  as  the  music  is  particularly 
adapted  to  instruments  of  that  class. 
Grand  opera.    A  full  opera  with  .an  intricate 
plot  and  full  cast  of  performers. 


APPENDIX. 


79 


&  ale,  a  add,  S  arm,  6  eve,  B  end,  I  ice,  I  ill,  5  oW,  6  odd,  6  dove,  oo  moon,  u  lute,  a  6u<, 

u  French  sound. 
Grand  sonata.    An  extended  sonata,  consist-       Nocturn. 

ing  generally  of  four  movements. 
Idillio,  It.    (ed-€MI-o.)    An  idyl. 
Idyl.    A  short  poem  in  pastoral  style ;  an 
eclogue. 


Idylle.  Fr.    {e-dlll.)      1    .     ,., 

Idylle,  Ger.    (Id-lM6.) }  ^^  *"y'- 

Interlude.  A  short  musical  representation, 
introduced  between  the  acts  of  any  drama, 
or  between  the  play  and  afterpiece ;  an 
intermediate  strain  or  movement  played  be- 
tween the  verses  of  a  hymn. 

Interiuder.    A  performer  in  an  interlude. 

Interludium,  i/a^  (In-t6r-/u-dl-tim.)1     An  in- 

Intermede,  Fr.  (anh-t6r-7»idd.)  i  terlude; 

Intermedio,  It.  (en-tSr-mo-de-o.)         [  inter- 

Intermezzo, //.  (en-t5r-mo<-so.)  J  medi- 
ate, placed  between  two  others ;  detached 
pieces  introduced  between  the  acts  of  an 
opera. 

Lied  (plural  Lieder),  Ger.  (led,  Ze-d6r.)  A 
song,  a  ballad,  a  lay. 

Lieder  oline  Worte,  Ger.  (/e-dSr  o-nB  t'or-tS.) 
Songs  without  words. 

Lyric.     )     Poetry  adapted  for  singing.    The 

Lyrical. )  word  is  borrowed  from  the  lyre,  and 
was  originally  confined  to  poetry  meant  to 
be  accompanied  by  that  instrument. 

Lyric  comedy.  A  comedy  in  which  vocal 
music  forms  a  principal  part ;  comic  opera. 

Lyric  drama.  Opera ;  acting  accompanied 
by  singing. 

Lyric  tragedy.    Tragic  opera. 

Madrigal.  An  elaborate  vocal  composition, 
in  three,  four,  five  or  six  parts,  without  ac- 
companiment, in  the  strict  or  ancient  style, 
with  imitation  and  fugue  ;  the  parts  or  mel- 
odies moving  in  that  conversational  man- 
ner peculiar  to  the  music  of  the  sixteenth 
and  seventeenth  centuries.  The  madrigal 
is  generally  sung  in  chorus. 

March.  "^     A  military  air  or 

Marciie,  i'V.    (marsh.)      I  movement     espe- 

Marcia,  It.  (mar-tslie-a.)  j  cially    adapted    to 

Marscli,  Ger.  (marsh.)  J  martial  i  n  s  t  r  u  - 
ments  ;  it  is  always  written  in  conmion 
time,  and  an  odd  eighth  note  or  quarter 
note  at  the  beginning  is  often  used. 

Marcia  Funebre,  It.  (mar-tshe-a  foo-na-brg.) 
Funeral  march. 

Mass.  A  vocal  composition,  performed  dur- 
ing the  celebration  of  High  Mass,  in  the 
Roman  Catholic  church,  and  generally  ac- 
companied by  instruments.  It  consists  of 
fiveprincipal'movements,  thoKyrte,  Gloria, 
Credo,  Sanctiis,  and  Agnus  Dei. 

Mazourlta,  Ger.  (nia-<soor-ka.) )     A  lively 

Mazurka,  Ger.  (ma-*soor-ka.) )  Polish  dance 
of  a  sentimental  character,  in  3-8  or  3-4 
time,  of  a  peculiar  rhythmic  construction, 
quicker  than  the  Polonaise  or  Policca. 

Minuet,    (min-yn-et.)  1     An  ancient 

Minuetto,  It.  (mee-noo-a^-to.)  [slow      and 

Menuetto,  It.  (ma-noo-a^-to.) )  stately  dance 
in  two  strains,  in  triple  3-4  time,  and  sup- 
posed to  be  of  French  origin  ;  a  movement 
of  a  quicker  time  formerly  used  as  the  con- 
clusion of  overtures,  sonatas,  etc. 

Morceau.  Fr.  (mor-so.)  A  choice  and  select 
musical  piece  or  composition  ;  a  ttne  phrase 
or  passage. 


)A    composi- 
tion of  a  light 
and     elegant 
character 
suitable    for 
evening  recreation  ;  also,  a  piece  resembling 
a  serenade  to  be  played  at  night  in  the 
open  air. 
Octet.    A  composition  for  eight  parts,  or  for 

eight  voices. 
Oper,  Ger.    (o-p6r.)     )     A  drama  set  to  mu- 
Opera,  It.    (o-p6-ra.)  )  sic,  for  voices  and  in- 
struments, airs,    choruses,  etc.,  and  with 
scenery,  decorations  and  action.    The  term 
is  also  applied  to  any  work,  or  publication 
of  a  composer  ;  see  also  Opus. 
Opera  buffa.  It.     (o-pg-ra   boof-f6.)     Comic 

opera. 
Opera  comique,  Fr.    (6-pa-ra  k6m-5k.)     An 
opera  interspersed  with  light  songs,  amus- 
ing incidents,  dances,  etc. 
Operetta,  It.    (o-p6-rat-ta.)    )     A    short   op- 
Operette,  Ger.    (^0-p6-r6t-t5.) )  era,  sometimes 

interspersed  with  dialogue 
Oratoire,  Fr.    (Hr-si-twdr.)  "I     A  species 

Oratorio.  of  musical 

Orat6rio,  It.    (6r-a-?o-rl-o.)  i-drania  con- 

Oratorium,  Xa<.    (dr-a-W-rl-Qra.)  j  sisting    of 
Oratorium,  Ger.  (or-a-W-rl-oom.)J  airs,   recit- 
atives, trios,  choruses,  etc.    It  is  founded 
upon  some  scriptural  narrative,  and  per- 
formed without    the  aid  of    scenery    and 
action. 
Ouverture,  Fr.    (oo-var-tiir.)    ^      An    intro- 
Overtura,  It.    (o-v6r-<oo-ra.)       I  d  u  c  t  o  r  y 
Overture,  Ger.    (o-f6r-foo-r6.)    [symphony to 
Overture,    Eng.      (o-v6r-tyur.)J  an  oratorio, 
opera,  etc.,  generally  consisting  of  three  or 
four  different  movements  ;  also  an  indepen- 
dent piece  for  a  full  band  or  orchestra,  in 
which  case  it  is  called  a  concert  overture. 
Passacaglio,  It.    (pas-sa-M/-ye-6.)  j     A    spe- 
Passacaille,  Fr.    (pas-sa-kal.)  )  c  i  e  s    of 

chacone,  a  slow  dance  with  divisions  on  a 
ground  bass  in  3-4  time  and  always  in  a 
minor  key. 
Pastorale,  It.    (pas-t6-rct-16.)    Pastoral,  rural, 
belonging  to  a  shepherd  ;  a  soft  movement 
in  a  pastoral  and  rural  style. 
Polacca,   It.    (po-ldk-ka,.)    A  Polish  national 
dance  in  3-4  time ;  a  dance  tune  in  which 
s^n  emphasis  is  placed  on  the  first  unac- 
cented part  of  the  measure. 
Polka.    A  livelv  Bohemian  or  Polish  dance 
in  2-4  time,  the  first  three  eighth  notes  in 
each  bar    being  accented,  and  the  fourth 
eighth  note  unaccented. 
Polka    mazurka.       (/?(5/-ka-ma-z11r-ka.)       A 
dance  in  triple  time,  played  slow,  and  hav- 
ing its  accent  on  the  last  part  of  the  meas- 
ure. 
Polonaise.    (pSl-o-was.)  )     A    movement   of 
Polonese.  )  three  quarter  notes 

in  a  measure,  the  rhythmical  p)ause  coming 
on  the  last  quarter  note  of  the  bar. 
Postlude,  Za^    (pofsMude.)  1      After- 

Postludium,  Lot.    (post-Zw-dl-ttm.)  J  piece, 

concluding  voluntary. 
Pot-pourri.    (p5t-poor-re.)    A  medley  ;  a  ca- 
pficcin,  or  Jantdsia  in  which   favorite  airs 
and  fragments  of  musical  pieces  are  strung 
together  and  contrasted. 


80 


BURROWES'   PIANO  PRIMER. 


a  ale,  &  add,  a  arm,  e  eve,  i  end,  i  ice,  I  ill, 

u  French 
Prelude.  )     A    short 

Preludio,  7^    (pr6-loo-d5-o.)  {introduc- 

Preludium,  Lat.    (prg-ii^-dl-am.) )  tory    com- 
position,   or    extempore    performance,    to 
prepare  the  ear  for  the  succeeding  move- 
ments. 
Prologue,  musical.    The  preface  or  introduc- 
tion to  a  musical  composition  or  perform- 
ance ;  a  prelude. 
Quartet,  Eng.  (quar-<?<.)        \     A     composi- 
Quartett,  Ger.  (quar-<^f/.)       S  tion    for    four 
Quartette,  It.    (quar-t6t-to.) )  voices    or    in- 
struments. 
Quintet.  )     A     composi- 

Quintetto,  It.  (quen-tat-to.)  |  tion  for  five 
Quintette,  Fr.  (kanh-t6t.)  )  voices  or  in- 
struments. 
Rapsodie,  Fr.  (rSp-so-'/e.)  ")  A  cajyrlccio, 
Rapsody,  Eng.  (rrt/j-so-dy.)  [a  fragmentary 
RhapsodJe,  Ger.  (riip-so-^/'e.)  [piece,  a  wild. 
Rhapsody,  Eng.  (rcl/>s6Hly.)  J  unconnected 

composition. 
Rapsodie    Hongroise,    Fr.     (rSp-so-de    ong- 

roase.)    Hungarian  Eapsody. 
Requiem,  Lat.    (ra-qul-6m.)    A  Mass,  or  mu- 
sical service  for  the  dead. 
Ritornel,  It.    (re-tor-Ha/.)  )      The  bur- 

Ritornello, /^    re-tor-Ha/-lo.)     J  den    of    a 
Ritournelle,  Fr.     (re-toor-wa/.) )  song  ;    also, 
a  short  symphony  or  introduction  to  an  air  ; 
and  the  symphony  which  follows  an  air  ;  it 
is  also  applied  to  tutti  parts,  introductory 
to,  and  between,  or  after,  the  solo  passages 
in  a  fonoerto. 
Romance,  Fr.    (ro-nifinhs.)      J     Formerly 
Romanza,  It.    (ro-?«an-tsa.)     J  t  h  e     name 
Romanze,  Ger.     (ro-»»aH-ts6.) )  given    to   the 
l(jng  lyric  tales  sung  by  the  minstrels  ;  now 
a  term  applied  to  an  irregular,  though  deli- 
cate and  retiued  composition. 
Rondeau,  i^r.    (r6nh-do.)\      A      composition. 
Rondo,  /^     (rnn-i\o.)         )  vocal  or  instrumen- 
tal, generally  consisting  of  throe   strains, 
tlie  tirst  of  which  terminates  in  a  cudeuoe 
on  the  tonic,  and  is  repeated  several  times 
(luring  the  movement. 
Scherz,  GV/-.    (sheits.)     )     Play,  sport,  a  jest ; 
Scherzo,    It.     (sker-tso.)  I  a  piece  of  a  lively, 
sportive  character,  and   marked,  aniinatecl 
rhytlim  ;  also  one  of    the  movements    in  a 
symphony. 
Septet,  Eng.    (f-^p-tij.)        [      A    conipositicm 
Septetto,  It.     (sl'y-tat-to.)  j  for   seven   voices 

or  instruments. 
Serenade,   Fr.    (ser-f-;!(W.')  \     Night    music  ; 
Serenata,  It.    (s5i-e-»a-/«.)  )  an  evening  con- 
cert in  tlie  open  air  and  under  the  window 
of   the   person  to  be   entertained.     Also,   a 
musical  composition  on  an  amorous  snliject; 
also,  any  light,  pleasing  instrumental  com- 
position comprising  several  movements. 
Sestet,  Eng.     (sys-?e^)        )      A     composition 
Sextet,  Eng.    (riix-tft.)_     [  for  six   voices  or 
Sestetto,  It.    (ses-tat-to.)  )  instruments. 
Sonata,  It.     (so-»rt-tii.)  )      An    instrumental 
Sonate, /•>.     {ao-iidt.)     [composition,    usu- 
Sonate,  dr.  (so-«rt-t5.) )  ally  of  three  or  four 
distinct  movements,  each  with  a  unity  of  its 
own,  yet  all  related  so  as  to  form  a  perfect 
whole.     It  commonly  begins  with  an  alle- 
gro, sometimes  i)receded  by  a  slow  introduc- 
tion.    1'hen  come    the   andante,  adagio,  or 
largo;  tlicn  tlie  minuet  a7i<l  trio,  or  scherzo  ; 
anil  lastly  the  tinale  in  quick  time. 


5  old,  6  odd,  6  dove,  oo  moon,  vl  lute,  ti  hut, 
sound. 

Sonatina,  It.    (so-na-<e-na.) )     A  short,  easy 
Sonatine,  Fr.    (so-na-<e7t.)   J  sonata. 

Song.  A  short  lyric  poem  set  to  music  ;  a 
short  musical  composition,  either  with  or 
without  words ;  a  hymn  ;  poetry. 

Standchen,  Ger.    (stand-tshgn.)    A  serenade. 

Symphonic  poem.  A  style  of  composition  of 
recent  invention,  partaking  of  the  charac- 
ter of  the  symphony,  but  freer  in  form. 
The  music  follows  to  a  greater  or  lesser  de- 
gree the  moods  or  action  of  a  poem  or  story. 

Symphonic,  Fr.    (sSnh-fo-ne.) )     A    grand 

Symphonic,  Gtr.    (sim-fo-ng.)  \  composition 

Symphony,  Eng.  )  of  several 

movements,  for  a  full  orchestra.  The  sym- 
phony, in  its  present  ^orm,  was  introduced 
by  Haydn,  and  generally  consists  of  an 
adapio,  allegro,  andante,  minuetto  (or 
schertzo),  trio,  and  flnAle.  The  term  is  also 
applied  to  the  introductory  and  concluding 
instrumental  parts  of  a  song,  or  other  voc^ 
composition. 

Tanz,  Ger.    (tants.)    A  dance. 

Tanze,  Ger.pl.    (?an-ts6.)    Dances. 

Tarantella,  It.  (tar-ran-fSMa.)  A  swift,  de- 
lirious  sort  of  Italian  dance  in  6-8  time. 
The  form  has  been  adopted  by  many  of  the 
modern  composers,  as  Liszt,  Chopin,  etc. 

Terzetto,  //.  {t^r-tsat-to.)  A  short  piece  or 
trio  for  three  voices. 

Toccata,  It.  (to-i'a-ta.)  An  old  form  of  com- 
position for  the  organ  or  pianoforte,  some- 
tliing  like  our  eapriccio  or  fantasia ;  a  piece 
requiring  brilliant  execution. 

Toccatina,  It.  (tok-ka-<e-na.)  A  short  toc- 
cata. 

Transcription.  An  arrangement  for  the 
pianoforte,  of  a  song  or  other  composition, 
not  originally  designed  for  that  instrument; 
an  adaptation. 

Trio,  It.  (tre-o.)  A  piece  for  three  instru- 
ments :  the  word  is  also  applied  to  a  piece 
for  three  voices,  but  incorrectly,  terzetto 
being  the  proper  appellation.  A  trio  is  also 
the  second  movement  to  a  minuet,  march, 
waltz,  etc.,  and  always  leads  back  to  a  rep- 
etition of  the  first  or  principal  movement. 

Valce,  It.    (raZ-tehg.)"]     A  waltz.    The  name 

Valse,  Fr.    (vals.)       (of    a   modern    dance, 

Walz,  Ger.    (valts.)    [originally  used  in  Sua- 

Waltz.  J  bia.    The  measure  of 

its  music  is  triple,  usually  in  3-4  or  3-8  time, 
and  performed  moderately  slow,  or,  at  the 
quickest,  in  allegretto. 

Walzer,  Ger.  (caZ-tsgr.)  "Waltz,  national 
German  dance. 

Variations.  ) 

Varlationen,  Ger.pl.  Cfii-rg-a-te-o-n6n.)  > 

Variazioni,  It.pl.    (vii-re-a-tse-6-ne.)     ) 

Kepetitions  of  a  theme  or  subject  in  new 
and  v.aried  aspects,  the  form  or  outline  of 
the  composition  being  preserved  while  the 
different  passages  are  ornamented  and  am- 
plified. 

Voluntary.  An  introductory  performance 
upon  the  organ,  either  extemporaneous  or 
otherwise;  also,  a  species  of  toccdta,  gen- 
erally in  two  or  three  movements,  calculated 
to  display  the  capabilities  of  the  instru- 
ment and  the  skill  of  the  performer. 

Vorspiel,  Gt>r.  (ior-spel.)  Prelude, introduo- 
torv  movement. 


A   PRONOUNCING   DICTIONARY   OF 
MUSICAL   TERMS. 


For  definitions  of  Musical  Forms  and  Movements  (aria,  prelude,  waltz,  etc.) 
see  Section  M,  Appendix,  page  78. 

A  list  of  terms  which  are  frequently  used  in  combination  with  one  another  will 
be  found  in  Chapter  XII,  page  41. 

A  list  of  the  abbreviationjs  used  in  musical  composition  will  be  found  in 
Section  L,  Appendix,  page  77. 

S.  ale,  a  add,  a  arm,  e  eve,  e  end,  I  ice,  1  ill,  o  old,  0  odd,  6  dove,  oo  moon,  u  lute,  11  but, 

li  French  sound. 


A  ballata.  It.  (a  bal-?a-ta.)  In  the  style  of  a 
dance.    See  Ballata. 

Abbandoiie,  It.  (iib-ban-rfo-nS.)  Making  the 
time  subservient  to  the  expression;  de- 
spondingly;  with  self-abandonment. 

A  cappella,  It.  (a  kap-^aZ-la.)  In  the  church 
or  chapel  style. 

Accelerando,  It.  (at-tsh61-a-ra7i-d5.)  Accel- 
erating the  time;  gradually  increasing  the 
velocity  of  the  movement. 

Acclaccatura,  It.  (at-tshe-ak-ka-/oo-ra.)  A 
species  of  arpeggio ;  an  accessory  note 
placed  before  the  principal  note,  the  accent 
being  on  the  principal  note. 

Acoustics.  The  science  of  sound,  by  a 
knowledge  of  which  we  are  enabled  to 
determine  the  relatoins  of  tones  and  the 
ratios  of  intervals  produced  by  vibrations. 

Ada^o,  It.  (a-rfa-je-o.)  A  very  slow  degree 
of  movement,  although  not  "the  slowest ; 
requiring  much  taste  and  expression. 

Ad  libitum,  Lat.  (ad  lib-x-t^m.)  At  will,  at 
pleasure  ;  changing  the  time  of  a  particular 
passage  at  the  discretion  of  the  performer. 

^Esthetics,  Gr.  (6s-<;i«Mks.)  The  rules  of 
good  taste,  the  laws  of  the  beautiful.  In 
musical  art,  that  which  relates  to  senti- 
ment, expression,  and  the  power  of  music 
over  the  soul. 

Affettuoso,  It.  (af-f6t-too-o-zo.)  Affection- 
ately, tenderly.  {Con  effetuoso,  with  feel- 
ing.) 

Agitato,  It.  (aj-e-^a-to.)  Agitated,  hurried, 
restless. 

Agrnus  Dei,  Lat.  (Sjy-nQs  da-e.)  Lamb  of 
God  ;  one  of  the  principal  movements  in  a 
mass. 

Al,  It.  (iil.)  To  thee  ;  in  the  style  or  man- 
ner of. 

Alia  breve.  It.  (al-lii  bra-v6.)  A  quick 
species  of  common  time,  formerly  used 
in  church  music.  It  is  marked  g  and 
sometimes  0.  Each  bar  contains  the  value 
of  a  whole  note  —  equal  to  two  half  notes, 
or  four  quarters.    Modern  composers  often 


subdivide  these  bars  into  two  parts,  each 
containing  two  quarter  notes,  and  this  is 
called  Alia  capSlla  time,  to  distinguish  it 
from  the  Alia  br^ve,  from  which  it  is  de- 
rived. 

Allegretto,  It.  (al-16-^m<-to.)  Rather  light 
and  cheerful,  but  not  as  quick  as  Allegro. 

Allegro,  i^r.  and /^  (aWo-gro.)  Quick,  lively; 
a  rapid,  vivacious  movement,  the  opposite 
to  the  pathetic,  but  it  is  frequently  modi- 
fied by  the  addition  of  other  words  that 
change  its  expression. 

All'  ottava  alia.  It.  (al  ot-ta-va  Sl-ta.)  In 
the  octave  above. 

Al  segno,  It.  (al  san-yo.)  To  the  sign ; 
meaning  that  the  performer  must  return 
to  the  sign  ;^:  in  a  previous  part  of  the 
piece  and  play  from  that  place  to  the  word 
Fine,  or  the  mark  /t\  over  a  double  bar. 

Altissimo, /^  (aWes-se-mo.)  The  highest: 
extremely  high  as  to  pitch.  It  is  applied 
to  all  the  high  treble  notes  which  are  more 
than  an  octave  above  F,  on  the  fifth  line 
of  the  treble  stalf. 

Andante,  It.  (an-f/aa-tS.)  A  movement  in 
moderate  time  but  flowing  steadily,  easily, 
gracefully.  This  term  is  often  modified 
both  as  to  time  and  style  by  the  addition  of 
other  words. 

Andantino,  It.  (an-dan-?e-n5.)  Properly,  a 
little  slower  than  Andante ;  but  custom 
has  given  it  an  entirely  different  meaning, 
and  it  usually  denotes  a  slightly  quicker 
movement  than  Andante. 

Aniiua,  con,  It.    With  life  and  animation. 

Animato,  It.  (an-e-mft-to.)  Animated;  with 
life  and  spirit. 

Antico,  all'.  It.  (an-^e-ko,  all'.)  In  the  an- 
cient style. 

A  piacere,  It.   (a  pe-a-*s^a-r5.)  At  pleasure. 

Apoco,/<.  (apo-ko.)    By  degrees,  gradually. 

Appoggiatura,  It.  (ap-p5d-jf-a-/oo-ra.)  Lean- 
ing note,  grace  note,  note  of  embellishment. 

Arpeggio,  It.  (ar-pad-je-6.)  Playing  the 
notes  of  a  chord  quickly  one  after  another 
in  the  harp  style. 


81 


82 


APPENDIX. 


S  ale,  &  add,  S  arm,  S  eve,  B  end,  T  ice,  I  ill,  5  oW,  5  odrf,  6,  dove,  oo  moow,  u  lute,  fi  JI)M<, 
li  French  sound. 


Assai,  It.  (Ss-sfl-S.)  Very,  extremely,  in  a 
high  degree,  as  Alligro  assdi,  very  quick. 

A  tempo.  It.  (a  t6in-po.)  In  time  ;  a  term 
used  to  denote  that  after  some  deviation 
or  relaxation  of  the  time,  the  performers 
must  return  to  the  original  movement. 

Attacca  subito.  It.  (aX-takAiS.  «oo-b6-to.) 
Attack  or  commence  the  next  movement 
immediately. 

A  una  corda.  It.  (a  oo-na  kdr-d.&.)  On  one 
string;  in  piano  music  the  term  signifies 
that  the  soft  pedal  is  to  be  used. 

Baritone.  A  male  voice  intermediate  in 
respect  to  pitch  between  the  bass  and  tenor, 
the  compass  usually  extending  from  B  flat 
to  F. 

Bass  clef.  The  bass  or  F  clef,  placed  upon 
the  fourth  line. 

Bravura,  It.  (bra-foo-ra.)  Spirit,  skill ;  re- 
quiring great  dexterity  and  skill  in  execu- 
tion. 

Breve,  It.  (bra-y'i.)  Short ;  formerly  the 
breve  was  the  shortest  note.  The  notes  then 
used  were  the  large,  the  long,  and  the  breve. 

Brillante,  It.    (brel-/a»-te.)    1  R-i„h^  s^ark- 

Brillaiite,  Fr.  (bre-yatilU.)  ]  ^"8*1*.  spa^^- 
ling,  brilliant. 

Brio,  It.    (bre-6.)    Vigor,  animation,  spirit. 

Cadenza,  If.  (ka-rfa/i-ts-a.)  A  cadence ;  an 
ornamental  passage  introduced  near  the 
close  of  a  song  or  solo  either  by  the  compo- 
ser or  extemporaneously  by  the  performer. 

Calando,  It.  (ka-Za/i-do.)  Gradually  dimin- 
ishing the  tone  and  retarding  the  time  ;  be-* 
coming  softer  and  slower  by  degrees. 

Cantabile,  It.  (kUn-td-he-l^.)  That  can  be 
sung  ;  in  a  melodious,  singing,  and  graceful 
style,  full  of  expression. 

Cantatrice,  It.  (kan-ta-<re-tsh6.)  A  female 
singer. 

Canticle.  A  sacred  hymn  or  song.  2.  A 
canto,  a  division  of  a  song. 

Canto,  It.  (h-dn-to.)  Song,  air,  melody,  the 
highest  vocal  part  in  choral  music.  2.  A 
part  or  division  of  a  poem. 

Canzone,  It.    (kant-3o-ne.)    A  song. 

Capell-nieister,  G(-r.  (A-a-p51-Hii.f-t6r.)  The 
director,  composer,  or  master  of  the  music 
in  a  clioir. 

Capo,  If.  (Aa-po.)  The  head  or  beginning; 
the  ti)]). 

Capric<-io8o,  It.  (kii-pret-she-o-zo.)  In  a 
fiinciful  and  capricious  style. 

Clavier,  Fr.    (klav-fir.)     j  The  keys  or  key- 
Clavier,  Ger.     (kla-/er.)    )  board  of  a  piano- 
forte, organ,  etc."    Also,  an  old  name  for 
the  clavichord. 

Clef,  Fr.  (kla.)  A  key  ;  a  character  used  to 
determine  the  name  and  pitch  of  the  notes 
on  the  staff  to  which  it  is  prefixed. 

Coda,  It.  (ko-dii.)  Tlie  end  :  a  few  bars 
added  to  the  end  of  a  piece  of  music  to  make 
a  inc.ro  effective  termination. 

Coniniodo,  If.  (kom-mo-do.)  Quietly,  com- 
posedly. 

Con,  //.'   (k6n.)  '  With. 

Concalore, /^  (k5n  ka-?(>-rB.)  With  warmth, 
with  fire. 

Con  carita, /<.    (kOu  ka-re-tii.)    With  tender- 


Con  celerita.  It.  (kOn  tsha-16r-e-<ct.)  With 
celerity,  with  rapidity. 

Concerto,  It.  (k.6n-tshSr-tQ.)  A  composi- 
tion for  a  solo  instrument  with  orchestral 
accompaniments.    2.  A  concert ;  harmony. 

Concert  pitch.  The  pitch  adopted  by  gen- 
eral consent  for  some  one  given  note,  and 
by  which  every  other  note  is  governed. 

Con  delicatezza.  It.  (kOn  dfil-e-ka-tat-sa.) 
With  delicacy  and  sweetness. 

Con  diacrezione,  It.  (kOn  des-kra-tse-o- 
nS.)  With  discretion ;  at  the  discretion  of 
the  performer. 

Con  dolore.  It.  (kOn  do-?5-rS.)  Mournfully, 
with  grief  and  pathos. 

Con  eleg:anza.  It.  (k6n  a-lB-grfln-tsa.)  With 
elegance. 

Con  energ:ico,  It.  (k5n  S-nSr-je-ko.)  With 
energy  and  emphasis. 

Con  esp.  An  abbreviation  of  Con  espres- 
siorie. 

Con  espressione.  It.  (k5n  as-pr6s-se-5-n6.) 
With  expression. 

Con  fuoco,  It.  (k6n  foo-5-ko.)  With  fire 
and  passion. 

Con  moto.  It.  (k5n  mo-to.)  With  motion; 
not  dragging. 

Con  sordino.  It.  (k5n  s6r-rfe-no.)  With  the 
mute :  meaning  that  a  mute  or  damper  is  to 
be  affixed  to  the  bridge  of  the  violin,  viola, 
etc. 

Con  gpirito,  It.  (k6n  spe-re-to.)  With  spirit, 
life,  energy. 

Contralto,  It.  CkiSn-trdl-to.)  The  deepest 
species  of  female  voice. 

Con  variazione,  //.  (kOn  va-re-ii-tse-o-ng.) 
With  variations. 

Corda,  It.  (ter-da.)  A  string;  lina  c&rda^ 
one  string. 

Coro,  It.    {ko-ro.)     \  A    choir,    a   chorus,  a 

Coro,  .Spa.    (ko-ro.) )    piece  for  many  voices. 

Corona.  It.    (ko-ro-na.)    A  pause  or  hold  '^. 

Corps  de  ballet,  Fr.  (kor  dtih  bSl-la.)  A 
general  name  for  the  performers  in  a  ballet. 

Counterpoint.  Point  against  point.  The 
art  of  adding  one  or  more  points  to  a  given 
theme  or  subject.  Before  the  invention  of 
notes,  the  various  sounds  were  expressed 
\iy  points. 

Crescendo,  If.  (kr6-s/(aH-do.)  A  word  de- 
noting an  increasing  power  of  tone ;  is 
often  indicated  by  the  sign,  — =;zrr;i. 

Da  camera.  It.  (da  Aa-m6-ra.)  For  the 
cliamber  ;  in  the  styleof  chamber  music. 

Da  capo.  If.  (da  kh  po.)  From  the  begin- 
ning;  an  expre'ssion  placed  at  the  end  of  a 
movement  to  indicate  that  the  performer 
must  return  to  the  first  strain. 

Da  capo  al  fine.  It.  (da^Aa-po  al  /e-n6.) 
Return  to  the  beginning  and  conclude  with 
the  word  Fine. 

Da  capo  al  segno.  It.  (da  M-po  al  sdn-yo.) 
Kepeat  from  the  sign  .*§; 

Dal  segno.  It.  (dai  san-yo.)  From  the  sign, 
.•^':  A  mark  directing  a  repetition  from 
the  sign. 

Debut, /<>.  (rfa-bii.)  First  appearance  ;  the 
first  pid)lic  performance. 

Debutante,  Fr.     (rfS-bii-tanht.)     A  singer 


APPEXDIX. 


83 


&  ale,  a  add,  S  arm,  B  ere,  5  end,  T  ice,  I  ill,  5  oW,  5  orfrf ,  &  dowe,  oo  moon,  tt  lute,  tl  6u<, 

u  French  sound. 


or  performer  who  appears  for  the  first  time 
beiore  the  public. 
Decrescendo,  It.    (da-kr6-sAan-d5.)    Gradu- 
ally diminishing  in  power  of  tone,  =^- 

Dellcato,  It.  (del-e-i'^to.)  Delicately, 
smoothly. 

Demi,  Fr.    (dS-mg.)    Half. 

Diminuendo,  It.  (de-me-noo-an-do.)  Dim- 
inishing gradually  the  intensity  or  power 
of  the  tone. 

Di  luolto,  It.  (de  mol-to.)  Very  much;  an 
expression  which  serves  to  augment  the 
meaning  of  the  word  to  which  it  is  applied. 

Dolce,  It.  (dol-tshi.)  Sweetly,  softly,  deli- 
cately. 

Dolcissinio,  It.  (d5\-tshes-se-mQ.)  "With  ex- 
treme sweetness  and  delicacy. 

Dolente,  It.  (do-Za/i-tfi.)  Sorrowful,  mourn- 
ful, pathetic. 

Dolore,  It.    (do-/o-r5.)    Grief,  sorrow. 

Doloroso,  It.  (do-lo-ro-zo.)  Dolorously, 
sorrowfully,  sadly. 

Dominant.  The  name  applied  by  theorists 
lo  the  ^li/th  note  of  the  scale. 

Doppel,  Ger.     (d6p-p'l.)    Double. 

Dot.  A  mark,  which  when  placed  after  a 
note  increases  its  duration  one  half.  When 
the  dot  is  placed  ot'er  a  note,  it  signifies 
that  the  note  is  to  be  played  staccdto. 

Double  bar.  Two  thick  strokes  drawn  down 
through  the  staff,  to  divide  one  strain  or 
movement  from  another. 

Double  flat.  A  character  (ffi)  which,  placed 
before  a  note,  signifies  that  it  is  lowered 
two  semitones. 

Double  sharp.  A  character  (x)  which, 
placed  before  a  note,  signifies  that  it  is 
raised  two  semitones. 

Dynamics.  This  term  in  music  has  refer- 
ence to  expression  and  the  different  degrees 
of  power  to  be  applied  to_  notes. 

Energico,  It.  (6u-ar-je-ko.)  Energetic,  vig- 
orous, forcible. 

Enharmonic.  Enharmonic  notes  or  chords 
are  those  that  sound  alike  on  the  piano, 
but  are  expressed  in  different  notation. 
Their  use  is  explained  in  paragraph  136. 

Ensemble,  Fr.  {sLnh-sclnh-hl.)  Together,  the 
whole:  applied  to  concerted  music  when 
the  whole  is  given  with  perfect  smoothness 
and  oneness  of  style. 

Espressione,  It.  (gs-pras-se-o-ng.)  Expres- 
sion, feeling. 

EspresslTo,  It.  (Ss-pras-se-vo.')  Expressive, 
to  be  played  or  sung  with  expression. 

Etude,  Fr.    (a-tiid.)    A  study,  an  exercise. 

Extemporize.  To  perform  extemporane- 
ously, without  premeditation. 

Extravaganza,  It.  (6x-trav-a-(7an^sa.)  A 
cadence  or  ornament,  which  is  in  bad  taste  ; 
an  extravagant  and  eccentric  composition. 

Falsetto,  It.  (fal-sa<-t6.)  A  false  or  arti- 
ficial voice  ;  that  part  of  a  person's  voice 
that  lies  above  its  natural  compass. 

Eantaisie,  Fr.  (fan-ta-z6.) ) 

Fantasia,  It.  (fiin-ta-ze-a.)  J  Fancy,  imagina- 

Fantasie,  Ger.  (fau-ta-se.) ) 
tioii.  caprice. 

Finale,  It.  (fe-nci-16.)  Final,  concluding,  etc. 

Fine,  It.  (fe-n6.)    The  end,  the  termination. 


Forte,  It.  (for-th.)    Loud,  strong. 

Fortissimo,  It.  (for-^es-se-mO.)    Very  loud. 

Forzando,  It.  (tor-tsiin-do.)  Forced,  laying 
a  stress  upon  one  note  or  chord. 

Fuoco,  It.   (foo-o-ko.)    Fire,  energy,  passion. 

Furioso,  It.  (foo-rg-o-zO.)  Furious,  vehe- 
ment, mad. 

Gamut.  The  scale  of  notes  belonging  to 
any  key. 

Gavot,  Ena.  (g&-v6t.)       )  A  dance,  consist- 

Gavotta,  It.  (g&-vdt-i'A.)  [      ing  of  two  light, 

Gavotte,  Fr.  (ga-vot.)  )  lively  strains,  in 
common  time. 

Giocoso,  //.  (je-6-A»-zo.)  Humorously,  sport- 
ively. 

Giusto,  It.  (Joos-to.)  A  term  signifying  that 
the  movement  indicated  is  to  be  performed 
in  an  equal,  steady,  and  just  time. 

Glissando,  It.  (glgs-san-do.)  Slurred,  smooth, 
in  a  gliding  manner. 

Grandioso,  It.  (gran-de-o-zo.)   Grand,  noble. 

Grave,  It.  (grrd-vg.)  A  slow  and  solemn 
movement ;  also,  a  deep,  low  pitch  in  the 
scale  of  sounds. 

Grazioso,  (It.  gra-tsg-o-zo.)  In  a  graceful 
style. 

Gruppetto,  (It.  groop-po-to.)  A  turn  ;  also, 
a  small  group  of  grace,*  or  ornamental 
notes. 

Gusto,  It.    (goos-to.)    Taste,  expression. 

Harmonic  minor  scale.  The  ordinary 
minor  scale  ;  consult  paragraphs  118,  119, 
124,  and  Sections  F  and  G,  Appendix. 

Inipetuoso,  It.  (gm-pa-too-o-zo.)  Impetu- 
ous, vehement. 

Impromptu,  Fr.  (^nh-promp-too.)  An  ex- 
temporaneous production. 

In  alt.  It.  (en  alt.)  Notes  are  said  to  be 
in  alt  when  they  are  situated  above  F  on 
the  fifth  line  of  the  treble  staff. 

In  tempo.  It.    (gn  tam-po.)    In  time. 

Interval.  The  distance,  or  difference  of 
pitch  between  tones. 

Inversion.  A  change  of  position  with  re- 
spect to  intervals  and  chords ;  the  lower 
notes  being  placed  above,  and  the  upper 
notes  below. 

Kappell-melster,  Ger.  (k.'dp-pei  mls-tSr.) 
Chapel  master  ;  musical  director. 

Kirchen-gesang,  Ger.    (A-lr-kh'n-ghg-sawgf.) 

Kirchen-lied,  Ger.  (fclr-kh'n  led.)  Spirit- 
ual song,  canticle,  psalm,  or  hymn. 

Kleine  lieder,  Ger,  (^/T-ng  /e-d6r.)  Little 
song. 

Larghetto,  It.  (lar-grS^-to .)  A  word  speci- 
fying a  time  not  quite  so  slow  as  that  de- 
noted by  largo,  of  which  word  it  is  the 
diminutive. 

Largo,  It.  (Iar-g5.)  A  slow  and  solemn 
degree  of  movement. 

]l.eading  note.  1  The  major  seventh  of  any 

Leading  tone.  (  scale  ;  the  semitone  below 
the  key  note ;  the  major  third  of  the  domi- 
nant. 

L.egatis8imo,  It.  (Ig-ga-Zes-sg-mo.)  Exceed- 
ingly smooth  and  connected. 

Legato,  It.    (Ig-grd-to.)     In  a  close,  smooth. 

fraceful  manner  ;  the  opposite  to  staccato, 
t  is  often  indicated  by  a  sign  called  a  tie, 
thus,  '^. 


84 


APPENDIX. 


%  ale,  &  add,  'A  arm,  E  eve,  6  end,  I  ice,  I  ill,  o  old,  5  orfd,  6  dove,  oo  moon,  u  lute,  tl  &t»<, 
ii  French  sound. 


Jjeger  lines.  Short  lines  added  above  or 
below  the  staff,  to  give  the  position  of 
notes  that  could  not  be  shown  on  the  tive- 
liue  staff.    Consult  paragraphs  16, 17,  and  20. 

Ijeg^ero,  It,  (16d-je-o-ro.)  Light,  swift, 
delicate. 

Liento,  It,    (lan-to.)    Slow. 

liOco,  It.  (/o-ko.)  Place;  a  word  used  in 
opposition  to  8ya,  signifying  that  the  notes 
are  to  be  played  just  as'they  are  written. 

MaestOHo,  It.  (ina-Ss-<d-zo.)  Majestic, 
stately,  dignified. 

Main,  Fr.    (manh.)    The  hand. 

Main  droite,  Fr.  (m&nh  drwSt.)  Right 
hand. 

Main  gauche,  Fr,  (m&nh  gosh.)  The  left 
hand. 

Major.  Greater,  in  respect  to  intervals, 
scales,  etc.,  in  contrast  to  the  like  Minor 
intervals,  etc. ;  as  explained  in  paragraphs 
104,  105,  106,  109,    110  and  113. 

Major  scale.    Consult  Chapter  X. 

Maiio,  It.     (ma-no.)     The  hand. 

Mano  dritta,  It,  (ma-no  dret-ta..)  The  right 
hand. 

Mano  sinistra.  It.  (mii-no  se-»ie«-tra.)  The 
left  hand. 

Manual.  The  key-board  ;  in  organ  music  it 
means  that  the  passage  is  to  be  played  by 
the  hands  alone  without  using  the  pedals. " 

Marcato, /^  (raar-A-o-to.)  Marked,  accented, 
well  pronounced. 

Mediant.  The  third  note  of  the  scale  ;  the 
middle  note  between  the  tonic  and  the 
dominant. 

Melodic  minor  scale.  A  variation  of  the 
usual  minor  scale,  explained  in  paragraph 
125,  and  Section  G,  Appendix. 

Meno,  It.     (md-no.)    I>ess. 

Metronome,  ffr.  {m?^-ro-?io-m6.)  A  machine 
invented  by  John  Maelzel,  for  measuring 
the  time  or  duration  of  notes  by  means  of  a 
graduated  scale  and  pendulum,  which  may 
be  shortened  or  lengthened  at  pleasure. 

Mezzo, /^  (mat-tso.)  Medium,  in  the  middle, 
half. 

Mezzo  forte.  It.  (metz-zo  fore-tH.)  Moder- 
ately loud;  see  paragraph  87. 

Mezzo  piano,  It.  (mStx-zo  pe-fi-no.)  Moder- 
ately loud  ;  consult  paragraph  87. 

Mezzo  soprano,  If.  (mat-t^o  so-prn-no.)  A 
female  voice  of  lower  pitch  than  the  sopra- 
no or  treble,  but  higher  than  the  contralto. 
The  general  compass  is  from  A  under  the 
lines  to  A  above  them. 

Minor.  Lesser  in  contrast  to  Major,  or 
greater.  Consult  paragraphs  104,  105,  106, 
109,110,  111,  and  11,3. 

Minor  scale.  This  is  explained  in  para- 
graphs 118,  119,  1'24,  and  Sections  F  and  G, 
Appendix. 

Missa,  Lat.    (me.s-sii.)     A  mass. 

3Iisterioso,  It.  (mes-t6r-e-o-zo.)  Mysteri- 
ously ;  in  a  mysterious  manner. 

Moderato,  It.'  (m5d-6-ro-to.j  Moderately; 
in  iiKxliTate  time. 

Molto,  /t.     f?Hd/-to.)     Much,  very  much. 

Morendo,  It.  (md-rrt'i-do.)  l)ying  away, 
exiiiring;  gradually  diminishing  the  ton* 
and  the  tinie. 


Mosso,  It.  (mos-so.)  Moved,  movement, 
motion. 

Motif,  Fr.  (mo-tef.)    Motive,  theme,  subject. 

Moto,  (mo-to.)  Motion,  movement ;  co7i  md- 
to,  with  motion,  rather  quick. 

Natural.  A  character  marked  5,  used  to 
contradict  a  sharp  or  flat. 

Non  troppo,  It.  (nSu  trop-p6.)  Not  too 
much,  moderately. 

Obbligato,  It.  (ob-ble-firo-to.)  Indispensable, 
necessary ;  a  part  or  parts  which  cannot  bo 
omitted,  being  indispensably  necessary  to  a 
proper  performance. 

Octave.  An  interval  of  eight  diatonic  sounds 
or  degrees  ;  also  the  name  of  an  organ  stop. 

Ottava  alta,  It.  (6t-td-vk  dl-tei.)  The  octave 
above,  an  octave  higher  ;  marked  thus :  8va. 

Ottava  bassa.  It.  (Ht-td-yS.  M«-sa.)  The 
octave  below,  an  octave  lower  ;  marked  8va 
bassa. 

Perrtendo,  It.    (pair-<16n-do.)        1  Gradually 

Perdendosi,  It.  (pair-d6n-d6-8l.)  (  decreas- 
ing the  tone  and  the  time  ;  dying  away.  See 
paragraph  96. 

Ves&nte,  It.    (pe-zdn-tH.)    Heavy,  ponderous. 

Phrase.  A  short  musical  sentence  ;  a  musi- 
cal thought  or  idea. 

Piacere,  It.  (pe-a-fs/ia-r6.)  Pleasure,  incli- 
nation, fancy  ;  a  piacire,  at  pleasure. 

Pianissimo, /<.  (pe-an-es-se-mo.)  Extreme- 
ly soft. 

Piano.  It.    (pe-a-no.)    Soft,  gentle. 

Pin,  //.     (pe-oo.)    More. 

Piu  lento,  (It.  pe-oo  ISn-to.)  More  slowly ; 
consult  paragraph  94. 

Piu  inosso,  It.  (j)e-oo  mos-so.)  With  more 
motion  ;  see  paragraph  94. 

Pizzicato,  It.  (pet-se-io-to.)  Pinched ;  mean- 
ing  that  the  strings  of  the  violin,  violon- 
cello, etc.,  are  not  to  be  played  with  the 
bow,  but  pinched,  or  snapped  with  the  fin- 
gers, producing  a  staccato  effect. 

Plagal.  Those  ancient  modes,  in  which  the 
melody  was  confined  within  the  limits  of 
the  dominant  and  its  octave. 

Plagal  cadence.  A  cadence  in  which  the 
final  chord  on  the  tonic  is  preceded  by  the 
harmony  of  the  subdomlnant. 

Poco,  It.    (po-ko.)    Little. 

Poco  a  poco.  It.  (po-ko  a  po-ko.)  By  de- 
grees, little  by  little. 

Portamento,  It.  (por-ta-7nan-to.)  Gliding 
the  voice  from  one  note  to  another. 

Precipitato,  It.  (pra-tghe-pe-?a-to.)  In  a 
precipitate  manner,  hurriedly. 

Prelude.    A  short  introductory  composition. 

Prestissimo,  It.  (pr6s-?es-se-mo.)  Very 
quickly,  as  fast  as  possible. 

Presto, "/^  (;jras-to.)    Quickly,  rapidly. 

Prima,  It.     (pre-mii.)    First,  chief,  principal. 

Prima  vista,  It.  (pre-ma.  t'es-ta.)  At  first 
sight. 

Prima  volta,  It.  (pre-mH  vdl-ta..)  The  first 
time,  in  reference  to  playing  repeated  pas- 
sages.    See  paragraph  69. 

Quasi,  //.     (qiut-ze.)    In  the  manner  of,  in 

"the  style  of. 

Kallentando,  It.  (ral-lSn-^ajj-tlo.)  The  time 
gradually  slower  aud  the  sound  gradually 
softer. 


APPENDIX. 


85 


&  ale,  S  add,  S  arm,  5  ece,  S  end,  I  ire,  I  ill,  5  oW,  5  orfrf,  o  dove,  oo  j«oo?»,  Q  lute,  a  6u/, 

ii  French  sound. 


Recitativo,  It.  (rB-tshg-ta-^e-vo.)  Recita- 
tive. 

Resolution.  The  moveiueiit  of  a  dissonant 
note  or  collection  of  notes  into  a  concor- 
dant group  of  tones.  The  name  is  also  given 
to  the  chord  into  which  the  movement  re- 
solves. 

Retard.    To  hold  back,  to  diminish  the  time. 

Rinforzando,  It.  (r6n-f  5  r-<sdn-tl6.) 
Strengthened,  re-enforced. 

Rit.  ) 

Ritard.  SRetard- 

Ritardando,  If.     (rg-tar-rfaw-do.) ) 
ing,  delaying  the  time  gradually. 

Ritenuto,'  It.  (re-t6-Moo-t6.)  Detained, 
slower,  kept  back  ;  the  effect  differs  from 
ritarddndn,  being  done  at  once,  while  the 
other  is  effected  by  degrees. 

Rubato,  It.  (roo-bU-to.)  Robbed,  stolen  : 
taking  a  portion  of  the  duration  from  one 
note  and  giving  it  to  another.  See  Timpo 
nitxlto. 

Scale.    See  Chapter  X. 

Scherzando, /^  (sk6r-<«an-do.)  Playful, 
lively,  sportive,  merry. 

Seconda  volta,  It.  (s6-A-oore-da  f5/-ta.)  The 
second  time,  in  reference  to  repeated  pas- 
sages.   See  paragraph  G9. 

Semplice,  It.  (sani-ple-tsh5.)  Simple,  pure, 
plain. 

Seinpre,  It.    jsam-prg.)    Always. 

Senza,  It.    (san-tsa.)    Without. 

Sforza,  //.  {sfor-tsi.)  Forced ;  with  force 
and  energy. 

Sforzando,'  It.  (sfor-/sctn-do.)  Forced:  one 
particular  chord  or  note  is  to  be  played 
with  force  and  emphasis. 

Siernature,  Eng.  (sl<7-na-tshilr.)  Sharps  or 
flats  placed  at  the  beginning  of  a  piece  to 
indicate  the  key. 

Sinistra,  Lat.    (^^sln-Is-tra.)    The  left  hand. 

Slentando,  It.  (sl6n-/aK-do.)  Equivalent  in 
meaning  to  ritardando,  which  see.  Also 
see  paragraph  94. 

Slur.  A  curved  line  over  two  or  more  notes, 
to  show  that  they  must  be  played  smoothly. 

Smorzando,  It.  (smOr./sd«-do.)  Extin- 
guished, put  out,  gradually  dying  away. 

Soprano,  II.  (s6-pra-n6.)  The  treble,  the 
highest  kind  of  female  voice ;  a  treble  or 
soprano  singer. 

Sostenuto,  It.  (sos-t6-7ioo-to.)  Sustaining 
the  tone. 

Sotto  voce.  It.  (sot-to  r5-tsh6.)  Softly,  in  a 
low  voice,  in  an  undertone. 

Spiritoso,  It.  (spe-re-<o-zo.)  Lively,  ani- 
mated, brisk,  spirited. 

Staccato,  It.  (stak-lrd-to.)  Detached,  dis- 
tinct, separated  from  each  other. 

Staff.  The  five  horizontal  and  parallel  lines 
on  and  between  which  the  notes  are  written. 

Stave.    Name  formerly  given  to  the  staff. 

Step.  A  degree  upon  the  staff.  Americans 
use  the  terms  step  and  half-step  in  place  of 
tone  and  semitone. 

Stretto,  //.  (s^ro-to.)  Pressed,  close,  con- 
tracted. In  fugue  writing,  that  part  where 
the  subject  and  answer  succeed  one  another. 

Str'neendo,  It.  (stren-jron-do.)  Pressing, 
•   ^Terating  the  time. 


Sub,  Lnt.    (stlb.)     Under,  below,  beneath. 

Subdominant.  The  fourth  note  of  any 
scale  or  key. 

Sublto,  It.  («oo-b6-t6.)  Suddenly,  immedi- 
ately. 

Submediant.    The  sixth  tone  of  the  scale. 

Subtonic.  L'nder  the  tonic ;  seven  of  the 
key. 

Suite,  Fr.  (swet.)  A  series,  a  succession ; 
utie  suite  de  pieces,  a  series  of  lessons  or 
pieces. 

Supertonic,  Fr.  (sii-p6r-t5nh-«t.)  The  note 
next  above  the  tonic  or  key  note ;  the 
second  note  of  the  scale. 

Suspension.  A  theoretical  expression  ap- 
plied to  the  retaining  in  any  chord  some 
note  or  notes  of  the  preceding  chord. 

Tacet,  Lat.    (/a-s6t.)    lie  silent. 

Tema,  It.  (<d-ma.)  A  theme,  or  subject ;  a 
melody. 

Tempo,  It.  (/am-po.)  Time ;  the  degree  of 
movement ;  a  tempo,  in  time. 

Tempo  I,  It.  I    {tem-po  pre-mo.)     The 

Tempo  prinio.  It.  (  original  speed  of  a  com- 
position or  movement;  consult  paragraph 
98. 

Tenor.  That  species  of  male  voice  next 
above  the  baritone  ;  the  highest  male  voice. 

Tenore  robusto.  It.  (ti-no-r6  ro-Aoos-to.) 
A  strong  tenor  voice. 

Tenuto,  It.    (ta-noo-to.)    Held  on,  sustained. 

Tetracliord.  A  group  of  four  tones  ar- 
ranged in  the  order  specified  in  paragraph 
122 

Thema,  Lat.    (tha-ma.)    A  theme,  or  subject. 

Thoroug:Ii-bass.  Figured  bass ;  a  system 
of  harmony  which  is  indicated  by  a  figured 
bass. 

Tonic.  The  key  note  of  any  scale  ;  the  chief, 
fundamental  ground-tone,  or  first  note,  of 
the  scale. 

Tonic  sol  fa.  A  system  of  writing  and 
teaching  music,  in  which  the  letters  or 
the  alphabet  and  other  signs  are  used 
iiisteacl  of  the  usual  notation  on  the  staff 
In  this  system  do  is  always  applied  to  the 
tonic. 

Tranquillo,  It.  (tran-^ueWo.)  Tranquillity, 
calmness,  quietness. 

Transposed.  Removed,  or  changed  into 
another  key. 

Treble  clef.    The  G  clef,  the  soprano  clef 

Tre  corde.  It.  (tra  i^-d6.)  Three  strings  ; 
in  pianoforte  music  this  means  that  the 
pedal  which  moves  the  keys,  or  action,  must 
no  longer  be  pressed  down. 

Tremolando,  It.    (tr6m-»-/an-do.)   )      7V/,m 

Tremolo,  It.    (Cro-mo-lo.)  )      ^  '^*'"' 

blinq,  quirering ;  a  note  or  chord  reiterated, 
protlucing  a  tremulous  kind  of  effect. 

Triad.  The  common  chord,  consisting  of  a 
note  sounded  together  with  its  third  and 
fifth. 

Trill.    A  shake. 

Triplet.  A  group  of  three  notes,  played  in 
the  usual  time  of  two  similar  ones. 

Troinba,  //.  (/rom-ba.)  A  trumpet ;  also 
an  organ  stop. 

Troppo,  It.  (trop-po.)  Too  much;  non 
troppo  alligro,  not  too  quick. 


86 


APPENDIX. 


S  ale,  %  add,  a  arm,  6  eve,  6  end,  t  ice,  I  ill,  o  oid,  5  oeid,  6  dove,  oo  moon,  a  lute,  li  6m<, 
u  French  sound. 


Tuba,  Lat.    (tU-ha.)    A  bass  horn  ;  also  the 

name  of  a  powerful  reed  stop  in  an  organ. 
Turn.  An  embellishment.  See  Gruppetto. 
Tutta  la  f  orza,  It.    (too-ta  la  ./or-tsa.)    The 

whole  power,  as  loud  as  possible,  with  the 

utmost  force  and  vehemence. 
Tutte, /<.    (too-t5.)     I  All,  the  entire  band  or 
Tutti,  It.    (toot-te.)    )      chorus  ;  in  a  solo  or 

concerto  it  means  that  the  full  orchestra  is 

to  come  in. 
Tympani, /«.    (pi.  <em-pa-ne.)    Kettledrums. 
Tyrollenne,    Fr.      (ti-r5-ll-6n.)      Songs    or 

dances  peculiar  to  the  Tyrolese. 
Un,    It.    (oon.)     ) 
Una,  It.    (oo-na.)  J     A,  an,  one. 
Uno,  It.    (oo-no.)  ) 
Una    corda.   It.     (oo-na    kdr-dd.)      On  one 

string  only ;  in  pianoforte  music  it  means 

that  tlie  soft  pedal  is  to  be  u^ed. 
Unison.     An  accordance  or  coincidence  of 

sounds  ;  together  ;  on  the  same  tone. 
Veloce,  It.    (v6-/(5-tsh5.)    Swiftly,  quickly. 
Veloclssimo,  It.     (v6-lo-fe/ie«-se-mo.)     Very 

swiftly,  with  extreme  rapidity. 


Yelocita,  It.  (vS-l5-<«A«-ta.)  Swiftness; 
rapidity. 

Viola.  A  tenor  violin  ;  an  instrument  simi- 
lar in  tone  and  formation  to  the  violin,  but 
larger  in  size,  and  having  a  compass  a  fifth 
lower. 

Violin.  A  well-known  stringed  instrument, 
having  four  strings  and  played  with  a  bow. 

Violoncello,  It.  (ve-S-lOn-tshai-lO.)  The 
large  or  bass  violin. 

Virtuoso,  It.  (ver-too-o-z6.)  A  skilful  per- 
former upon  some  instrument. 

Vivace,  It.  (ve-tfci-t8h6.)  Lively,  briskly, 
quickly. 

Voce,  It.    (v6-tsh6.)    The  voice. 

Voix,  Fr.    (vwa.)    The  voice. 

Volante,  It.  (vo-lan-tS.)  Flying;  a  light 
and  rapid  series  of  notes. 

Volti,  It.    (vol-m.)    Turn  over. 

Voltl  subito.  It.  (vQl-a  su-6e-to.)  Turn  the 
leaf  quickly.    See  paragraph  72. 

Vox,  Lat.    (v5x.)    Voice. 

Vox  humana,  Lat.  (v5x  hiX-mti-na,.)  Human 
voi«e. 


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